Museum of Moscow” Museum Associaton

01 / 2020 ISSN 2520-2472 MUSEUMSMUSEUMSMUSEUMS OFOFOF CITIESCITIESCITIES REVIEW REVIEWREVIEW

network.icom.museum/camoc/

CAMOC ANNUAL CONFERENCE 2020 “The Right to the City”

Krakow, Poland postponed for October 1-3, 2020

DOSSIER: FROM KYOTO TO KRAKOW • RAPID-RESPONSE EXHIBIT • MIGRATING MEMORIES • A MUSEUM FOR THE PEOPLE1 MUSEUMS OF CITIES REVIEW CONTENTS 04 08

20 18 24

03 THE CHAIR’S NOTE - The new museum defniton Joana Sousa Monteiro and its implicatons 25

04 NEW MUSEUM APPROACHES - A close experience, 18.108 Respect Existence or Expect kilometres from home Resistance. A Rapid-Response Exhibit 22 RETHINKING MUSEUMS A Personal Refecton from the 07 MUSEUMS1 Symposium A Museum for the IV Internatonal Research and People Practce Conference “Museum in the City — City in 25 MUSEUMS AND MIGRATION the Museum” Migratng Memories – 33 Dialogues on the Relatonship 10 DOSSIER: FROM KYOTO TO Between Memory, Heritage KRAKOW and Migraton BETWEEN THE TWO ANNUAL CAMOC MEETINGS 28 ACTIVITIES & EVENTS CAMOC Kyoto 2019: City The Museum Inside Me Museums as cultural hubs past, present and future 28 EXHIBITION ALERT Upcoming exhibitons Niki de Saint Phalle, “Tarot Garden”. 16 GRANTEE REPORTS: - An overview of the General 34 CONFERENCE ALERT COVER PHOTO: Krakow City. Conference Future conferences © Museum of Krakow

Editorial Board: Jelena Savić (Editor), Layla Bet, Jenny Chiu, Renée Kistemaker, Gegê Leme, Marlen Mouliou, Susan Sedgwick, Joana Sousa Monteiro Supportng Team: Catherine Cole, Ian Jones, Chet Orlof, Eric Sandweiss, Rainey Tisdale, Jackie Kiely Design: Bingul Gundas

2 THE CHAIR’S NOTE From the Chair

Dear CAMOC members,

The most unexpected has just happened, a global epidemic is forcing us all to reorganise our lives and plans. The unprecedented COVID-19 outbreak is partcularly afectng the cultural sector, namely museums. Most of our museums are closed or partally opened. Our priority now is not only public health in general but also our own and that of our families and colleagues. Andrea Delaplace (France), Patricia Brignole (Argentna) In these challenging tmes, we wish to convey a strong and Marilia Bonas (Brazil). message of solidarity and hope to all our colleagues and friends around the globe whose lives have somehow Performance assessment and a new project been afected by the pandemic. In the past weeks, we became aware that CAMOC was amongst the three best-performing Internatonal Many of our museums and other cultural organisatons Commitees for the 5th year in a row, according to the have seized the moment to rethink their engagement evaluaton results from the ICOM’s Strategic Allocaton with the public and of how to reach new audiences Review Commitee (SAREC). The annual performance through digital contents in social media and webpages, assessment is determined by aspects like the content thus enhancing contact and keeping spirits high. of the conferences, training courses and meetngs held, publicatons, website contents, inclusive approach, Conference postponement cooperaton with other ICOM commitees and The most important change in CAMOC’s plans is the membership evoluton. postponement of the annual conference. First scheduled to 3-6 June, it has been adjourned to 1-3 October in That wonderful result was only possible thanks to the Krakow, Poland. Hopefully, CAMOC will be able to set up amazing Board CAMOC is very lucky to count on, both the annual conference under the theme “The Right to the former members and the current ones elected in the City”, organised in tandem with the City of Krakow September 2019. Nevertheless, our team could hardly and the Museum of Krakow. The feedback to our call for do a good job without the great museum professionals, papers was exceptonal and, soon, we will be announcing researchers and thinkers that constantly send and share the conference programme. We are defnitely countng relevant food for thought and fundamental data about on you! city museums, urban heritage and thinking.

This issue contains the special dossier “From Kyoto to City museums are becoming agents of change, Krakow”, which looks into the main results of the great addressing issues like local identty, migraton Kyoto Conference in early September 2019, the ICOM movements, placemaking, social rights and sustainability. General Conference in which CAMOC held its annual However, there is a critcal problem: the lack of evidence- conference, featuring joint sessions with ICOM-DEMHIST based knowledge about the number and type of city (the Internatonal Commitee for Historic Houses museums that currently exist in the world. It is not Museum) and ASPAC, the ICOM Regional Alliance for the possible to tell how many city museums there are and Asia-Pacifc region. how are they evolving.

As you may know, the Kyoto conference became CAMOC has been working on city museum defnitons historical due to the group and plenary discussions over and major concepts, gathering ideas and mission the new museum defniton, in which CAMOC also took statements from diferent types of city museums. Some part. The museum defniton mater will contnue to be sessions of our annual conferences of 2015 (Moscow) addressed and discussed over the next year or two. and 2018 (Frankfurt), and the 2-day workshop in 2019 (Lisbon) were focused on the subject. Following a very successful call for papers (with over ninety proposals, a record number for CAMOC), we To tackle this issue, CAMOC has successfully applied welcomed forty-fve experts on cites and city museums, for ICOM’s support to design and manage a three-year from fve contnents and twenty-three countries. project on “City Museums Global Mapping”, startng now, During six sessions, more than a hundred delegates – in April, in partnership with the Natonal Taipei University speakers and atendees – have actvely contributed to of Educaton, COMCOL (ICOM Internatonal Commitee our ongoing discussion about the future of museums for Collectons) and ASPAC (ICOM’s regional alliance for of cites. As usual in our programmes, the speakers and the Asia-Pacifc region). We will keep you informed on atendees not only came from museums of cites but the results of this ambitous work in progress. also universites, research centres and other insttutons linked with cites. Don’t forget that your feedback and partcipaton are really important to us! You can fnd very interestng perspectves on the Kyoto Stay safe and well! conference in this issue through the lens of Jelena Savic, our Secretary, and the views of our grantees’ reports, Joana Sousa Monteiro

3 NEW MUSEUM APPROACHES Respect Existence or Expect Resistance. A Rapid-Response Exhibit PAOLA E. BOCCALATTE*

Respect Existence or Expect Resistance. The exhibiton. September 14. © Paola Boccalate

The exhibit in collaboration with Polo del ‘900 and some young “Governments, Are You Indifferent? Then Expect activists.1 This is a rapid-response exhibit, an innovative Resistance” - the 7-meter long banner is hanging on kind of exhibition responding to current issues of the balcony railing. Dozens of signs and cardboards relevance; it is characterized by the active participation are dangling over the courtyard. They say: “Save the of the community in collecting and interpreting Earth”, “Our House is on Fire”, “Knowledge Protects the objects, immediacy in communication and the the Planet”, “Russia’s Burning: What are we Waiting sustainability and essential nature of the set-up. for?”. A big inflatable Earth hangs over the centre of the courtyard and a big bottle made up of assembled The process plastic bottles greets visitors at the entrance of the The initiative starts from the newly acquired awareness Museum. Dozens of objects produced on the occasion about the role of museum institutions towards the of the Global Climate Strike on March 15 by the most pro-active urban communities and the urgencies activists of Fridays for Future - Turin and Extinction of the present. The aim to respond to the 17 goals Rebellion - Italy, and other local initiatives, are placed of the United Nations for 2030, the wish to make in the yard of San Celso Palace, the headquarters of the message of the Museum more up-to-date and to the Museum of Resistance, Deportation, War, Rights welcome new audiences led the Museum to creating and Freedom of Turin. a sustainable, inclusive and bottom-up event. In fact, it was conceived and managed together with the For just one day, on September 14, the Museum community since the beginning and this was the wish organizes an exhibition of objects, a conference of the Museum staff, as well as it was the case for the with experts and activists, and a photo-exhibition,

1 Polo del’ 900 is an organizaton composed of 22 insttutes, which, in various ways, deal with the history of the 20th century. For more * Paola E. Boccalate, Museum Consultant informaton see: www.polodel900.it

4 event organized on June 20, World Refugee Day2. After the first Global Strike, which saw a huge participation by the Turin students, the Museum staff met the activists many times. During the meetings, the most suitable ways and means were sought to host an event which would meet both the needs of activists and the mission of the Museum. Thematic convergences and shared values came up and materialized in a small but sustainable project, which included photographs of actions and strikes, made by an activist, and also objects and a conference.

The goals The Museum has been recognized as a place suitable for hosting an action on the climate crisis, as already happened in other museums worldwide (for example, the Museo Nacional de Bellas Artes in Buenos Aires, the Tate Modern or the Natural History Museum in London). But in this case, unlike the Victoria and Albert Museum, the objects displayed were returned to the activists and did not become part of the Museum Photo posted by Greta Thumberg on Instagram. Climate Strike in collections. The exhibition, of great visual impact, Turin, September 27. was absolutely new to the Museum, which had never hosted and display messages by groups of citizens first committed to the fight against Nazi-fascism and involved in the fight for human rights before. The then to another kind of battle, that for a sustainable Museum has thus been able to test its “relevance” and and fair world. He is an example of commitment to respond promptly to the contemporary questions. and sensitivity that holds together the many words Room for opportunities, change, participation was in the name of the Museum, between history and created. contemporaneity.

The conference saw a balanced mix of scientific The critical points contributions, including the video-message of Robert The dialogue with the activists has not always been Janes (Coalition of Museums for Climate Justice) and easy, due to the horizontal structure of the movement contributions devoted to activists’ goals. Thanks to and the temporary involvement of some very young the introduction of the name of Aurelio Peccei in the participants. Activists took an opportunity but did not debate, the occasion allowed to build a bridge between seem to have recognized the Museum as a permanent history and present. Peccei (Turin, 1908 - Rome, 1984) place of reference for their values. Only few people participated in the Resistance (1943-1945) in the actually participated in the co-creation of the event. partisan formations of “Giustizia e Libertà” and was imprisoned as an opponent of the regime. He was a Unfortunately, the participation of the citizens was company manager and founded the Club of Rome, a lower than expected, despite the great effort which non-profit NGO composed of scientists, economists, was made in the domain of communication. On the activists, whose mission was to study the global one hand, the media coverage did not benefit from changes and look for alternative solutions. The group the movements (boasting a high reputation on social commissioned the MIT (Massachusetts Institute of media instead). On the other hand, the Museum used Technology) to undertake the research about the traditional tools and languages to communicate about growth, whose outcome was the celebrated – and a highly innovative event so it couldn’t reach the discussed – report The Limits to Growth (1972).3 Peccei desired target group of young citizens.

Finally, the Museum could not provide enough time for 2 Please see the artcle about this event published in the CAMOC Museums of Cites Review #2/2019. debriefing and reflection, fundamental to re-elaborate 3 The Limits to Growth is a cornerstone essay for the opponents of collectively the project. unlimited growth. It’s a scientfc report based on the simulaton of unlimited economic and populaton growth with fnite resources. It was commissioned by the Club of Rome and the authors were Donella H. Conclusions Meadows, Dennis L. Meadows, Jørgen Randers, and William W. Behrens On the occasion of the Global Climate Strike, on III, representng a team of 17 researchers. The book, translated in 30 languages, stll arouses heated debate today. September 27, 2019, the demonstrating participants,

5 NEW MUSEUM APPROACHES passing in front of the headstones of some partisans killed during the German occupation, sang “Bella ciao”, the iconic song of the Italian Resistance. Today, the song has spread all over the world and is taking on further meanings, but all have been generally related to a democratic, and fair horizon. In this case it would be desirable to have it performed as a tribute, in front of the headstones.

The climate crisis is a serious threat to human rights, as it puts at risk the fundamental rights to life and health of communities around the world. This awareness makes the Museum of the Resistance – which has an overall mission to deal with human rights – a suitable place to reflect on these issues and gather citizens engaged in the environmental cause and, therefore, in the exercise of a conscious and active citizenship. The event was a first attempt to introduce the issue of sustainability and community engagement and the Museum learned a lot from the young citizens, and from their ability to activate soft power. Respect Existence or Expect Resistance. The exhibiton City museums are privileged environments to welcome September 14. Turin, Global Climate Strike, March 15, 2019. citizens involved in sustainable practices, and the 10 © Paola Boccalate actions proposed by Museums for Future may be the starting point for the work on the theme.4 activists for Fridays For Future, adopting sustainable attitudes in all exhibition practices, reusing structures For example, organizing a sustainability awareness and devices, encouraging visitors to use public meeting, picking a sustainable activity jointly with transport instead of private cars, fostering partnerships and sponsorships with companies sharing a sustainable 4 See: museumsforfuture.org and fair vision. The time is now.

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6 MUSEUMS IV Internatonal Research and Practce Conference “Museum in the City — City in the Museum” December 13–14, 2019 Department of Culture of the City of Moscow State-fnanced cultural organisaton of the City of Moscow “Museum of Moscow” Museum Associaton

CATHERINE C. COLE*

In December, I was privileged to represent CAMOC at the Museum of Moscow’s annual international conference on city museums. While there is not space here to discuss all of the sessions, and not all were translated into English, I would like to draw attention to a few that were particularly interesting to me and relevant to CAMOC members.

I spoke in the opening session - “New city museum” - about city museums today – musing broadly about how they have evolved and some of the current challenges in terms of vision, mandate, governance, funding, The Museum of London’s new facility. exhibitions and programmes, particularly outside of © www.museumofondon.org.uk Europe to provide a different perspective, as well as at latitude 69.36°N. I’m currently working on the about CAMOC’s ongoing project Migration:Cities and development of the new Nunavut Heritage Centre our new initiative about museum definitions. in Iqaluit, Canada, at 63.75°N. There are a number of challenges particular to working in the Arctic – The conference highlights although with Norilsk having a population of 175 000 Finbarr Whooley, Director of Content at the Museum permanent and up to 220 000 residents including of London, gave an overview of the museum’s new temporary inhabitants, compared to Iqaluit’s 7740, facility at West Smithfield. It sounds like an exciting there are as many differences as similarities between development for the museum, which will see the the two communities. closure of the current Barbican location. Smithfield was London’s meatpacking district and is now part of Sergey Kamensky, Director of the Museum of History the city’s Culture Mile. The new museum will take less of Yekaterinburg, talked about some very innovative of a chronological approach and more of a conceptual approaches in the network of city museums he approach to time. Like the Museum of Moscow, manages, including a new project to redevelop a Smithfield is a repurposed industrial site with similar building from the Soviet era through the interpretation challenges and opportunities. of personalities.

The presentation of the Director of the Museum of A panel about local history featured regional museums Norilsk, Natalya Fedianina, was particularly interesting in Russia that are beginning to rethink their permanent to me because of the focus on an Arctic museum exhibitions and boost their search for new regional, local and city identities, as they attempt to reveal parts of their history overlooked by Soviet era exhibitions. * Principal Consultant of Catherine C. Cole & Associates in Edmonton, A number of these initiatives are focusing on family Canada, Vice-Chair of CAMOC and Secretary-General of the Commonwealth Associaton of Museums (CAM) histories and working with local communities. What

7 MUSEUMS

imbed community-based practice Dmitriy Oparin of Moscow State University and the in the Curatorial Department as in Bulgakov Museum in Moscow spoke about his work the Education Department, where with the local community on the history of Moscow it is usually housed. houses as told by their former inhabitants. It’s a case of the building, rather than the collectons, being the A panel on city museums artefact and an emphasis on oral history. His project and migration, organised in echoed the approach taken at the Tenement Museum collaboration with ICOM Russia, in New York City, which I had just visited for my sec- was particularly relevant to ond tme the month before. CAMOC’s Migration:Cities project. Julia Pagel, Secretary-General Dinara Khalikova, the Project Director for ICOM Russia, Overview of the Moscow Textiles of the Network of European spoke about their upcoming project on migration, exhibition. Photo: Catherine Cole Museum Organizations (NEMO) called Migration: Revealing the Personal, of which the spoke about several migration Museum of Moscow is a partner. The project intends projects in European museums, to look at barriers to participation by migrants. Olga including an EMST Without Brednikova, leading research fellow at the Center for Dmitriy Oparin speaking on the panel “City and migraton: challenges and opportunites Borders project in Athens called Independent Social Research and Project Contributor for a city museum”. © Catherine Cole Face Forward which involves at the European University in Saint-Petersburg, storytelling workshops, a photo observed that it is difficult to find the right language was particularly interesting to me was the comparison shoot and exhibition; Multaka in Berlin which involves to speak about migration, the dangers of making between the Soviet period and colonisation, the notion training refugees to become museum guides; and migrants seem exotic or victims, and the value in of ‘decolonising museums’ from within a country Jamtli Museum in Sweden, an open-air museum which normalising difference and mobility. The question of that had experienced such a radical transformation has gone so far as to provide housing for refugees in ‘projectitis’ was raised in the discussion that followed. internally. With so much discussion of decolonisation the museum. Unfortunately, current funding mechanisms support internationally at the moment, we must realise that ‘projectitis’ but it is really important, when working the concept means very different things to different in marginalised communities like migrants, to people. develop sustained programmes rather than one-off projects. Elena Naumova, Director of Uchma Village Museum of Yaroslavl Region, spoke about an ecomuseum in a A session on “Archaeological heritage in the city: community with a very small population – not a city. representaton in the museum, urban environment, But what resonated most to me were the stories of and the media” featured a number of fascinatng the old women living alone, their comments on their presentatons. Jerzy Gawronski from the University of own lives through oral histories, and the impact that Amsterdam, impressed everyone with his incredible hearing those stories had on the community. The work on the Amstel river in Amsterdam. The project museum addresses the question What is love and does resulted in a beautful catalogue called simply Stuf, it exist? and the exhibition has had a significant impact. a metro exhibiton and an amazing digital resource Community members actually stopped drinking as a called Below the Surface.1 Julian Hill, Senior Project result of increased community pride. It’s incredible Manager, London Museum of Archaeology (MoLa), to think of the power that museums can have if we spoke about the work he’d done on the London Mi- mobilise it. thraeum, the archaeological site of an ancient Roman temple below Bloomberg’s new European headquar- A panel discussion on working with communities was ters. Support from Bloomberg meant that the excava- also particularly relevant to my own practice, which ton and interpretaton could be of the highest quality. is primarily community-based. Finbarr Whooley Several Russian speakers talked about sites in Russia spoke again, this time providing three examples of and how they are and could be researched, preserved community-based practice in the Museum of London’s and interpreted. Curating London programme: Brexit Talks, We the People in Brixton, and Dub Culture. Brexit Talks gives Exhibitons and tours for the internatonal guests people the opportunity to record their own reflections on the debate about Brexit in London; We The People In addition to the conference sessions themselves, is a short documentary film about the past, present during sessions that were not translated from Russian and future of activism in Brixton; and Dub Culture is to English, the international guests were treated to a about collecting everything and anything to do with couple of tours with our guide Maria Nikitina. The first Dub reggae, from clothes and chat to music and food. His underlining premise is that it’s just as important to Overview of the Moscow Textles exhibiton. © Catherine Cole 1 htps://belowthesurface.amsterdam/en

8 Dmitriy Oparin of Moscow State University and the Bulgakov Museum in Moscow spoke about his work with the local community on the history of Moscow houses as told by their former inhabitants. It’s a case of the building, rather than the collectons, being the artefact and an emphasis on oral history. His project echoed the approach taken at the Tenement Museum in New York City, which I had just visited for my second tme the month before.

Dinara Khalikova, the Project Director for ICOM Russia, Overview of the Moscow Textiles spoke about their upcoming project on migration, exhibition. Photo: Catherine Cole called Migration: Revealing the Personal, of which the Museum of Moscow is a partner. The project intends to look at barriers to participation by migrants. Olga Brednikova, leading research fellow at the Center for Independent Social Research and Project Contributor at the European University in Saint-Petersburg, observed that it is difficult to find the right language to speak about migration, the dangers of making migrants seem exotic or victims, and the value in normalising difference and mobility. The question of ‘projectitis’ was raised in the discussion that followed. Unfortunately, current funding mechanisms support ‘projectitis’ but it is really important, when working in marginalised communities like migrants, to develop sustained programmes rather than one-off projects.

A session on “Archaeological heritage in the city: representaton in the museum, urban environment, Maria Nikitna illustratng aspects of the Moscow Metro to and the media” featured a number of fascinatng Julian Hill (L) and Finbarr Whooley (R). © Catherine Cole presentatons. Jerzy Gawronski from the University of Amsterdam, impressed everyone with his incredible was of a temporary exhibition at the museum called work on the Amstel river in Amsterdam. The project Moscow Textiles, a history of the textile industry in resulted in a beautful catalogue called simply Stuf, the city from the opening of the first factories in the th a metro exhibiton and an amazing digital resource mid-19 century to the closure of production facilities called Below the Surface.1 Julian Hill, Senior Project after the collapse of the USSR. As a former costumes Manager, London Museum of Archaeology (MoLa), and textiles curator myself, I was fascinated by the spoke about the work he’d done on the London Mi- scope, breadth and depth of the exhibition. A number thraeum, the archaeological site of an ancient Roman of local textiles factories had saved machinery, temple below Bloomberg’s new European headquar- archival photographs and records, designs, and ters. Support from Bloomberg meant that the excava- fabrics, so they had a very rich collection to work with. ton and interpretaton could be of the highest quality. On the next day, we had a second tour, this time of Several Russian speakers talked about sites in Russia the Moscow Metro, and some of the main sites in the and how they are and could be researched, preserved historic district. The Metro is fascinating and clearly and interpreted. demonstrates how the city can be the museum.

Exhibitons and tours for the internatonal guests The conference provided valuable insight into city museums in Russia today and the similarites and In addition to the conference sessions themselves, diferences between Russian museums and those in during sessions that were not translated from Russian other parts of the world. The proceedings will be pub- to English, the international guests were treated to a lished by the museum. Thanks to Museum of Moscow couple of tours with our guide Maria Nikitina. The first Director Anna Trapkova, Internatonal Projects Cura- tor Larissa Ivanova, and Head of Lecture Center Maria 1 htps://belowthesurface.amsterdam/en Sakirko for the invitaton to partcipate.

9 From Kyoto to Krakow Heritage of Kyoto - the Kiyomizu Dera temple. © Jelena Savić

BETWEEN THE TWO ANNUAL CAMOC MEETINGS

10 CAMOC KYOTO 2019: CITY MUSEUMS AS CULTURAL HUBS – PAST, PRESENT AND FUTURE

Jelena Savić CAMOC Secretary

individual members, we organized an o#-site meeting at the Museum of Kyoto (September 5).

!e conference was held in English, and thanks to the e#orts of ICOM Kyoto General Conference organizers and our Japanese individual and institutional members, simultaneous translation to/from Japanese was also provided for some of the sessions and for the entire o#-site meeting day in the Museum of Kyoto.

At our Assembly, the new CAMOC board for the 2019-2022 term was presented, the committee rules One of the CAMOC conference sessions, ICC Kyoto. were updated, and future host museums of cities – © Jelena Savić those of Barcelona and New York – were announced.

In the beginning of September 2019, we held the Also, the Migration: Cities group was created in Kyoto, CAMOC Annual Conference in Kyoto, in Japan, as with the aim to explore possibilities to continue the a part of the 25th ICOM General Conference in that project (initially conceived as a three-year Special fascinating and welcoming city. Project "nanced by the ICOM grant between 2016 and 2018). !e theme of CAMOC’s 2019 conference, City Museums as Cultural Hubs – Past, Present and Future, As a result of the conference, CAMOC bene"ted resonated with the theme of the General Conference. signi"cantly from an expanded network and, !e principal sub-themes were those of trends in city especially, reinforced links with our colleagues from museum, city museum de"nitions, multiculturalism, the Asia-Paci"c region. !e delegates, from CAMOC sustainability, and responses to urban issues. !e and from ASPAC and DEMHIST, bene"ted from CAMOC Kyoto 2019 meeting unfolded in diverse multidisciplinary sessions, which brought thought- formats – those of oral presentations, ignite sessions, provoking ideas, relating traditional heritage contents discussions and a workshop. with new urban issues relevant to the present-day world. Following a very successful call for papers (with over 90 paper proposals, a record number for CAMOC), Some of the most memorable moments of the we welcomed 45 experts on cities and city museums, CAMOC meeting happened at the post-conference from "ve continents and 23 countries. During six trip to Tokyo (September 8-9), which had two conference sessions, over 100 delegates – speakers di#erent routes, where two groups in West and East and attendees - actively contributed to our ongoing areas of Tokyo. !e quality of the programme was discussion on the future of museums of cities. !e highlighted by the large number of participants, many speakers and attendees came not only from museums of them from other International Committees, which of cities, but also from universities, research centres added to the expansion of our network. and other institutions linked with cities. !e conference sessions CAMOC established partnerships and held joint sessions with ICOM-ASPAC and ICOM-DEMHIST. Our discussions on city museums as cultural hubs With the support of our Japanese institutional and took place during 4 conference days (September 2-5,

11 From Kyoto to Krakow

2019), and focused on the following sub-topics: Cultural Tourism, City Sustainability and Museums of Cities City and house museums in the context of revising museum definition Reconsidering Multiculturalism: Living with different ‘diversities’ in museums of cities City Museum Trends: Active collecting & activating collections (workshop format) Museums of Cities, Trends and Definitions: Connecting urban past and present, responses to urban issues Museums of Cities and Sustainable Urban and Local Community Development

!e "rst day, September 2, 2019, was dedicated to the From the IC poster session at ICC Kyoto. © Jelena Savić joint session with ICOM-ASPAC, with four invited speakers, two from each committee. !is session was collecting and empowerment was held, gathering devoted to Cultural Tourism, City Sustainability and about 20 participants. !e workshop was led by Museums of Cities. Nicole van Dijk (Rotterdam Museum/CAMOC Board member) and concentrated on innovative methods of On September 3, 2019, the second joint session was collecting. Within the Rotterdam Museum, Nicole has held, with 9 presentations selected through the call for been building innovative practices with the potential papers in collaboration with the partner committee, to change traditional and conservative museums ICOM-DEMHIST. !e speakers in this session into more relevant and dynamic organisations. focused on the theme of City and house museums in !e workshop contained several brief interactive the context of revising museum de"nition. sessions where participants were challenged to design an active collection method, based on their own On September 4, 2019, the CAMOC session on professional background. Reconsidering Multiculturalism: Living with di#erent ‘diversities’ in museums of cities was held. !e session !e Museum of Kyoto hosted two conference was conceived and moderated by the team of our sessions held on September 5, 2019, the last day of Japanese colleagues, headed by Mariko Murata and the CAMOC Annual Conference. !ese sessions Chunni Chiu. !e session had a combination of two were devoted to the themes of Museums of Cities, types of presentations: regular oral presentations, Trends and De"nitions, and Museums of Cities and an ignite session, both followed by a fruitful and Sustainable Urban and Local Community discussion. On the same day, the workshop on Active Development. !e o#-site meeting day also included a special tour of the Museum of Kyoto and a guided visit to the Nishiki neighbourhood.

!e CAMOC post-conference tour CAMOC and the ICOM KYOTO 2019 Organising Committee planned a post-conference tour of Japan’s capital, Tokyo, focusing on Rethinking the Relationship between the City and the City Museum, which took place on September 8/9, 2019. The participants were divided in two groups, allowing participants to explore different parts of Tokyo before regrouping/ getting together again to discuss their impressions. Day One was dedicated to two longer From the post-conference tour in Tokyo, at the Tamarokuto tours, one for each group of participants, and the Day Center. © Tamarokuto Center. Two centred on a single museum visit.

12 a celebration of CAMOC 2019 being held in Japan, we decided to have a special dossier on Japanese City Museums, edited by Chunni Chiu. !e special edition was also a useful resource for the CAMOC conference participants, as it contains articles written about city museums and municipal institutions, like the city museums of Kyoto, Osaka and Tokyo, related both to the conference programme and the CAMOC post- conference tour.

!anks to the e#orts of our Japanese member Mariko A stand at the Nishiki market we visited in Kyoto. © Jelena Savić Murata (Kansai University), it was possible to have the special issue on the Japanese city museums not On the "rst day, the participants at the East Tour only as an e-publication but also in print. visited the Edo-Tokyo Museum and the Sensoji Temple (Asakusa Kannon Temple), located in one Another special issue on the Migration: Cities (2016- of the oldest Tokyo districts (Edo). !e tour then 2018), edited by Gegê Leme Joseph, is a review of the continued to the museums in Ueno Park, where initiative, gathering invaluable articles on experiences participants could experience the "rst cultural cluster and projects carried out in the course of the three in Japan. !e participants at the West Tour had an and a half years, with a special focus on migrant opportunity to visit the Tamarokuto Science Center, communities’ participation, as well as new ways to the Tamagawa Aqueduct and the Kodaira Fureai look into representation, interpretation, collections Sewage Museum, situated in an interesting residential and its connections in our museum practice. area (Western Tokyo, Tama area). A%erwards, they headed into the Tokyo Metropolitan Area and the !e Book of Proceedings from our Frankfurt meeting cultural cluster Art Triangle Roppongi, newly created (held in 2018) contains nineteen original texts on in the 2000s. In the evening, the groups reconvened in di#erent aspects of the future of museums of cities, Ueno to enjoy a reception entitled “ICOM-CAMOC whose authors come from four continents – Europe, Café”, where they could discuss in an informal way North America, South America and Asia – and what they had discovered during the tours. !e second from city museums (and other related professional day was dedicated to the visit to Tokyo Metropolitan contexts) of diverse styles and scales. It has 152 pages Art Museum. !is specialized post-conference tour, and is available for download as an e-book, free of organized by CAMOC and the ICOM KYOTO 2019 charge, at the “Publications” section of our website. Organising Committee, would not have been possible without our Co-Organisers: Tokyo Metropolitan Art !e work on the preparation of our Kyoto conference Museum; Edo-Tokyo Museum; Tamarokuto Science proceedings is underway and we expect completion Center; the Implementation Committee for the New in the "rst semester of 2020. !e proceedings, edited Concept “Ueno, a Global Capital of Culture”; Arts by Jelena Savic and Chunni Chiu, and containing over Council Tokyo (Tokyo Metropolitan Foundation for 20 original articles, will be published as an e-book History and Culture). We are grateful to the Tokyo and made available free of charge via the CAMOC University of the Arts for their support to the post- website. conference tour, too. CAMOC Krakow 2020: Our publications !e Right to the City

In line with CAMOC’s overall strategy, we have put Following the developments and forecast about the a lot of e#orts into our publications, so that in 2019 pandemics over the past weeks, the CAMOC Krakow four issues CAMOC Review were published, as well as Organising Committee has concluded that it is the e-book of proceedings – a tangible outcome of our inevitable to postpone our annual conference, initially Frankfurt conference. planned for June.

Four issues CAMOC Review were published: two !e new dates have just been determined and set for regular issues, in April and September 2019, and two October 1-3, 2020. special issues, in September and December 2019. As Nevertheless, the feedback to our call for papers

13 From Kyoto to Krakow

Who has the right to the city?

!e questions “Who belongs?” and “Who has the right to the city?” are the starting point of this session. !ese questions raise diverse issues to be tackled, such as changing demographics, migration and immigration or relations between “insiders” and “outsiders”, between residents and tourists.

!is session also invites contributions that explore how city museums address the problem of mass tourism and its con&icting relation with the right to the city.

So many cities worldwide have experienced the bene"ts of being attractive destinations for visitors, (closed in mid-February) was exceptional, and but at the same time there are great challenges: how we hope to be able to announce the conference do cities and city museums cope with overuse, the programme very soon. negative impacts of large numbers of visitors and !e early bird registration deadline has been updated paradoxical situations when tourists destroy exactly to August 15, 2020. For registration, please follow this what they seek for? link: https://camockrakow2020.bpt.me/ As the growth in mass tourism or demographic changes o%en overlaps with processes such as the !e theme of the CAMOC 2020 Annual Conference concentration of a city’s population, and an increase in will be $e Right to the City. !e theoretical inequalities and exclusion, the question of belonging background can be found in the work of two becomes more intricate and also more relevant to renowned authors: Henri Lefèbvre, who was the "rst explore in the context of the city museum. How to present the concept of !e Right to the City (1968), can city museums contribute to understanding and and David Harvey, who took this concept forward. mediating complex relations between visitors and In the context of museums of cities, we will address residents, (im)migrants and residents, “insiders” and the right to the city through four sub-topics: “outsiders”, and the (productive) di#erences they bring Participation/locality into play in urban space? Who has the right to the city? Urban revitalization and Urban revitalization Confronting post-truth !is session invites contributions which examine the Participation/locality nature and process of urban revitalization processes and re&ect on the future of public space and housing. According to Joan Roca (MUHBA City History On one hand, there is a desire and an opportunity to Museums and Research Network of Europe), the right reinforce inclusivity - equal access to public services, to the city has a series of implications, re&ected in the to housing, to public space for all people, and the “right to the neighbourhood” and the “right to the possibility for all to participate in shaping places centre”, as well as “the right to the memory” and “the and cities. On the other hand, speculation tends to right to history”. In this context, the city museum acts turn public spaces into contested spaces and thus to simultaneously on a city scale and a local scale: “as an generate inequalities. organiser of spaces and narratives and as a connector of neighbourhoods to the city”. How can city museums contribute in developing new forms of participation in the process of urban In this session, contributors are invited to re&ect on how the dialectics between local everyday life and the city as the symbolic space of representation, the space of memories and, simultaneously, of tangible evidence of city history and development, may be understood and rendered visible in city museum strategies, collections and activities. How can the city museum become an agent of social inclusion and sociocultural cohesion? How can it ful"l the role of a cultural hub for the city, as an arrival point for a visitor, and a safe and inclusive space for everyone? The city of Krakow. © Museum of Krakow

14 revitalization and thus help creating a more inclusive, participative city? Amendments to the Confronting post-truth committee rules !e increasing and problematic phenomenon At the CAMOC Assembly held on September 2, of the denial of scholarship, evidence, facts, and 2019, a series of amendments to the previous CAMOC Rules (2015) was ratified. The principal even the dismissal of truth itself has been broadly reason for the proposed amendments was recognized as one of the most unsettling tendencies to bring the CAMOC Rules in conformity with we have today. !e aim of this session is to provide ICOM Internal Rules, adopted by the Executive a better understanding of the impact and scope of Board in 2017, and especially their Article 7, which refers to the Rules for International the so-called “post-truth” in the context of city committees. museums and then to re&ect on possible action The main amendments refer to: such as conveying authenticity through museum collections and programs, clarifying urban reality • renaming CAMOC bodies in order to avoid confusion with the names of ICOM bodies, through acknowledging a multitude of voices, which as advised by the IC Rules Working Group sometimes may even be in contradiction to each (Executive Board into CAMOC Board; other, creating a common space and a reliable base for General Assembly into CAMOC Assembly) learning, debate and the interpretation of past, present • updating the names of ICOM bodies and future of cities. mentioned in the document, as many of the governing bodies of ICOM were Besides the state-of-the-art discussions and renamed in 2016 presentations expected at the conference sessions, there • clarifying the situation when a CAMOC Board member resigns will be many other memorable moments and informal • scheduling the invitation for nominations opportunities for networking, sharing knowledge and for the next CAMOC board before the end experiences, and also for getting to know the host city of the calendar year in which the elections and its museums: our colleagues from the Museum of are held, to ensure reliability of the Krakow have been planning an exciting programme membership database kept by ICOM of museum tours and other visits for the conference • explicitly expressing the possibility for participants, to be announced very soon. holding virtual meetings.

Welcome to CAMOC Krakow 2020!

The new CAMOC Board (2019-2022 term) In 2019, CAMOC members elected the new CAMOC Board for the 2019-2022 term. Out of 22 candidates, the following 11 Board members were elected: • Joana Sousa Monteiro (Portugal) • Patricia Brignole (Argentna) • Chunni Chiu (Taiwan/Japan) • Catherine Cole (Canada) • Jan Gerchow (Germany) • Sarah Henry (USA) • Gege Leme Joseph (Brazil / South Africa) • Michal Niezabitowski (Poland) • Jelena Savic (Bosnia and Herzegovina/Portugal) • Christan Nana Tchuisseu (Cameroun) • and Nicole van Dijk (The Netherlands) Of the 11 board members, six will contnue from the previous term, while fve are newly elected. Importantly, our current Board members come from fve diferent contnents, and this fact refects CAMOC’s aspiraton to promote sharing knowledge and experience at a global scale and the intenton to reinforce the diversity of museums represented and involved in CAMOC and ICOM. Joana Sousa Monteiro was designated the commitee Chair, Catherine Cole and Sarah Henry were chosen as Vice-Chairs, Jelena Savic as Secretary, and Patricia Brignole as Treasurer.

15 From Kyoto to Krakow Heritage of Kyoto. © Jelena Savić From the grantee reports

ICOM and CAMOC have awarded travel grants to CAMOC members to help them attend the Kyoto meeting. The 2019 grantees were: Andrea Delaplace (France), who was awarded the ICOM young member grant upon recommendation of CAMOC; Patricia Brignole (Argentina) and Marilia Bonas (Brazil). The grantees have submitted their reports, where they shared impressions about the event and plans to implement the lessons learned in their own professional and cultural contexts. Here we highlight some of their reflections, not only about the CAMOC sessions, but also about the ICOM General Conference and its significance, taking into account the debate on the new museum definition.

Andrea Delaplace reflected not only on the CAMOC conference, but also on the ICOM General Conference and here we share some of her observations. In her report, our colleague Marilia Bonas from Brazil presented the discussion process of the new museum definition and its implications. Finally, Patricia Brignole shared a personal an emotional account of the event, and how significant the experience has been for her growth as a museum professional.

16 GRANTEE REPORTS

An overview of the General Conference Andrea Delaplace CAMOC member and PhD candidate at Université Paris 1 Panthéon Sorbonne

!e #rst day: September 2, 2019 various aspects of sustainability, on a local and global scale, this session provided an overview of di#erent !e Opening Ceremony, on September 2, 2019, was paths and innovative strategies that museums very impressive, with the presence of the Prince and have been following to support society in meeting Princess of Japan and two artistic presentations: a unprecedented challenges. Museums are at the nexus choir of Monks of Daigo-ji Temple and a Noh theater between tradition, innovation and communities, performance (Shakkyo – !e Stone Bridge). !e which all nurture sustainable futures. All museums opening remarks were made by Suay Aksoy, President have a part to play, and through working with of ICOM, and Tamostu Aoki, Chair of ICOM Japan. communities they can maximize collective impact and bene"t. !is panel encouraged all participants to !e keynote speech by the Japanese architect Kengo consider how they can get involved in creating this Kuma highlighted the importance of creating shared story of positive transformations. However, museums connected with their environment. His none of the speakers could give concrete examples speech was entitled “!e Age of Forest” and he of how a “sustainable future” is actually possible, questioned how architecture is changing into an given the fact that museums as institutions are intermediary that reconnects people and places, in bound by political directives and are more and more a sustainable way. In the lecture he exposed how he dependable on private funding. designs architecture, acknowledging change from the “Age of Concrete” to the “Age of Forest”. From an !e second day: September 3, 2019 ecological and community point of view, architecture should be sustainable. He presented a selection of !e second day of the conference started with the projects where architecture merges with traditional keynote speech of Sebastião Salgado on the Amazon know-how (“savoir-faire”) by local artisans, creating, forest.2 Much has been written about the destruction as a consequence, a perfect symbiosis between of the Amazon forest, about the burning of large community, environment and the role of museums as swathes of primary jungle to create areas for cattle cultural hubs (for education, conservation of heritage, farms and soybean plantations, the poisoning of etc.). rivers by freelance gold miners and the penetration of virgin territory by illegal loggers. Although vast Museums are also required to be important tools to tracts of the world’s greatest tropical rainforest have reinforce links between people and places. !is was been destroyed, luckily over 81 percent of it remains the idea behind the V&A branch in Dundee, which untouched, and it is the shared responsibility of Brazil he designed. Another interesting project he presented to preserve what remains. !e urgency to do so has was the new stadium for the Olympic games in Tokyo, led Sebastião Salgado to develop new and creative led by the idea of sustainability, where he used pieces forms of protection and sustainable management of wood from di#erent parts of Japan to represent of the Amazon region. !rough his work as a di#erent regions in an “ecologically correct” symbiosis photographer, Salgado got in touch with di#erent between nature and architecture.1 indigenous communities of the Amazon region and it led him to develop a photographic series showing its !e Plenary Session “Curating Sustainable Futures natural beauty and people. through Museums” also stimulated discussion on the role of museums as social mediators, creating a !e Plenary Session on the new museum de"nition better society by in&uencing improvements in social presented di#erent perspectives on the subject. justice, education, environmental conservation and Six speakers - George Okello Abungu, Margaret raising awareness on sustainability. Considering Anderson, Lauran Bonilla-Merchav, Shose Kessi, Nirmal Kishnani and Richard West jr. - were invited

1 For more informaton see the artcle published in January 2019 by The Architect’s Newspaper: htps://archpaper.com/2019/01/kengo-kuma- 2 htps://www.franceculture.fr/emissions/les-masterclasses/sebastao- 2020-tokyo-olympic-natonal-stadium/#gallery-0-slide-0 salgado-je-vis-la-photographie

17 From Kyoto to Krakow

that will be embraced by the local public, as opposed to those that are merely cultural tourism brands for foreigners? What is the role of the museum for local communities, particularly in an age where erecting museums has become fashionable on a global scale and contemporary art has become increasingly re"ned and elitist?

I also followed the Plenary Session “Museums in Time of disaster: Be prepared, respond e#ectively, and preserve cultural heritage”. In the event of a major disaster, museums should react in an e#ective, conscious and rapid way. To be able to save lives and cultural heritage, they should analyze and The Plenary Session on the new museum defnition, September 3, prepare response mechanisms. !is plenary session 2019. © Andrea Delaplace provided a forum to share experiences, to discuss the challenges and threats that museums are facing, and to present their views on decolonization, gender to explore opportunities for international cooperation and inequalities in representation. !ese experts and knowledge exchange. discussed the need for a change in the museum de"nition and of the visions and potentials for a new Next, the plenary session dedicated to “Asian Art de"nition. In the 1960s and 1970s, the need emerged Museums & Collections in the World” considered the for the groups such as immigrants, women and non- signi"cance of Asian art museums and collections western communities to be included in the museum (following the growing number of ICOM members discourse. Whose voices do we hear in museums? from Asian countries): the questions were how they Democratic transformation is an uneven process, can better connect to local and foreign audiences, but inclusive trends are more and more present as an and how they can bene"t from coordinating aspiration of museums. with colleagues around the world in the future. !is session also featured a case study of Asian Multiple or even con&icting narratives are now art, examining recent moves to promote deeper more present than in the “old” master narrative. understanding of Asian art in museums around the Multivocality is becoming more and more apparent world. in exhibitions, thus enhancing a more inclusive and open approach to social identities. As a !e last day: September 7, 2019 consequence, reconciliation and healing are now part of the museums’ role, by presenting and collecting !e last day of the General Conference, September 7, traditional culture and collecting but also through 2019, was dedicated to the voting on the new museum embracing dialogue and social justice and global de"nition and the election of the new ICOM Board. concerns as future challenges. Inclusive contemporary !e session about the museum de"nition lasted for practices and multivocal exhibitions are essential to over 3 hours, and, a%er a long discussion and debate, engage actively with communities. While the current the voting was postponed and di#erent ICOM groups museum de"nition focuses primarily on permanent will continue working together on the new de"nition. institutions, the alternative museum de"nition shi%s the focus towards museums as spaces for dialogue.

!e third day: September 4, 2019

!e following morning, in his keynote session, the Chinese artist Cai Guo-Qiang provided an overview, through a series of projects across the globe, how he has interacted with the museum system over the decades. Among the projects he discussed, he included his current solo exhibition at the National Gallery of Victoria in Melbourne, taking place in conjunction with the exhibition of the famed Terracotta Warriors. How do we rebuild museums The plenary session on September 7, 2019. © Andrea Delaplace

18 The new museum definition and its implications Marilia Bonas Coordinator, Memorial of Resistance of São Paulo, Brazil

!e museum de#nition: the process

!e need for a new museum de"nition has arisen from the desire of a signi"cant part of the museum community to update the concept voted, in 2007, at the ICOM General Assembly in Vienna. !us, a special committee, the Museum De"nition, Perspective and Possibilities Committee (MDPP), was set up to share with ICOM members the task of building a new de"nition, collecting online collaborations and compiling proposals with a common scope, and then forwarding "ve separate versions to the ICOM Executive Committee.

From the material submitted, the Executive Committee dra%ed the proposal of a new de"nition and forwarded it to the members around the world, The Plenary Session on the new museum defnition, September 3, one month prior to the Conference, announcing at 2019. © icom-kyoto-2019.org that time that it would be put to a vote at the Assembly at the 25th General Conference. cultures, a de"nition is a descriptive formulation of an institution from its operations. For others, it is In this context, a number of national and international rather operational, aspirational, pointing to the raison committees formalized requests to postpone the vote d’être of these institutions in society. Debates about on the new de"nition, arguing the lack of discussion the new de"nition also revolved around these cultural among their own members on this proposal. During di#erences: should a de"nition open new paths or the conference, a space for discussion of the de"nition portray a pragmatic reality? was created, with intense participation of members, which was divided between moments of debate and In the editorial of “!e Museum De"nition: !e the programme of their committees. Backbone of Museums”, Jette Sandal addressed the issue by bringing the de"nition of museums as !e questions essentially revolved around the form of “dedicated to the societal, political, epistemological forwarding and the lack of time for discussion of the and professional issues surrounding the ICOM proposal and for giving feedback, the epistemological de"nition of museums as it ties in with the prospects question and the absence of two words deemed and future potentials for museums.” fundamental for the formulation of the public policy of museums: institution and education. !us, from the work conducted around the world, !ere was also a backlash against the new formulation the MDPP understood that the new de"nition of of the de"nition: a few national committees perceived museums requires a paradigm shi%, expanding the that the de"nition was very “political” and that social commitment of museums to the contemporary museums should not commit themselves to issues of world, especially taking into account the emergence such nature. of the climate and the issue of social justice.

Finally, during a long assembly, voting members of Uses of a de#nition the national and international committees opted to postpone the decision, with the Secretariat’s A de"nition of museums has several uses. !e "rst commitment to continue the discussion in a is to clearly inform society of what museums are, democratic and shared manner. what they are for, and who they serve. !e second is to conceptually subsidize public policies in the area, What is a de#nition: semantics and cultures based on their role in contemporary times. !e third use, always based on the previous ones, is to serve !e idea of a new de"nition of museums – a as a central advocacy tool for the cause of museums, backbone de"nition – "rst of all, needs a consensus ensuring their implication in the emergent issues of across countries about what a de"nition is. For some the contemporary world.

19 From Kyoto to Krakow

!e relationship between museums and the society perspective rather than an applied one, such as those they serve greatly varies around the world, according who understand decolonization as something apart to di#erent cultural contexts. from their professional lives, as something that only concerns collections and captions. It is also evident !e acts of preserving, researching and that the movement that understands museums as communicating are interspersed with logics of value, not neutral – very strong in American and English power, representativeness, identity disputes and museums – is de"nitely not unanimous. political constructions throughout the history of communities, localities and nations. Such actions !e Assembly, which postponed the decision on the unfold from di#erent processes and institutional de"nition of museums, witnessed the articulation of models, less or more formal, with more or less an opposition to its approval, based on distinctive connection with their surrounding realities. (and even contradictory) reasons, ranging from a !us, the challenge of a new museum de"nition, conservative spectrum to the role of museums – in which is assumed to be aspirational, is to understand particular, raised by European committees such how its applicability will occur in countries that as ICOM Germany and ICOM France (“museums violate human rights, disregard climate emergency don’t have to be political, they don’t have to deal and / or do not support museums truly devoted with such themes”), and to the lack of key concepts to society. !ese challenges are allied with the like “institution” and “education” – orientations sustainability of museums - most of which are brought by the opposition of various Latin American partially or wholly maintained by public resources committees and international committees such as - in countries with democracies at risk, fragile or CECA and ICOFOM. simply non-democratic countries. In the opposite camp, in an articulation to approve !e museum community: a mirror of world the new de"nition, ICOM US, ICOM UK and geopolitics INTERCOM stood out, in a semantic alignment which defended that a new de"nition of museums Even though the vote was postponed, the level to must be aspirational and have a great power as an which the discussion of the new de"nition of museums advocacy tool, in the broadly well-consolidated was raised represents a huge advancement in the position – especially in the two aforementioned museological area, as it highlights the many layers of countries – that museums are not neutral and change con&ict in the status of museums in the most di#erent lives.1 cultural contexts. And, of course, the internal tensions within ICOM’s own structure were also evident. 1 It was interestng to remark that no Asian commitee has spoken out about the defniton in the assembly, and that African commitees, extremely actve in the other meetngs of the conference, have publicly It was interesting to observe museum professionals, shared their concern about the tming of the process, but not their who approached themes from a theoretical consideratons about the proposed new defniton.

A close experience, 18,108 kilometres from home Patricia Brignole Museologist / Director and coordinator of the Museum of the City of Córdoba, Argentina

Kyoto, city that welcomes with open arms

ICOM KYOTO 2019 conference was my "rst participation in a General Conference and the second in an annual CAMOC Conference since I had the possibility of introducing myself to the community in Mexico 2017. At the same time, this was my "rst opportunity to cross the Paci"c Ocean and visit Japan, a fascinating adventure since my departure in Córdoba, Argentina.

Since my student years and, then, in my work as a museologist and a professional consultant, for more than 15 years, ICOM has been my theoretical, ethical reference and a re&ection of good practices. On the At the ICOM General Assembly, with the CAMOC Chair. one hand, to have been selected as a grantee and © Patricia Brignole

20 A moment from the Tokyo post-conference tour. Bottom: From the Tokyo post-conference tour. From the Nishiki market. Group workshop, DRMC Kyoto National Museum. © Patricia Brignole having been part of this event is a much-appreciated “MUCI, Museum of the City of Córdoba” and I have achievement, especially considering that in this exchanged information with other colleagues from instance, one of the agenda items was the vote of the such distant regions, who, nonetheless, share the new de"nition of museum. On the other hand, this same themes of work and the passion for them. was my participation in CAMOC already as a member of the Board, a valuable experience that I found myself representing my city and a museum I live for the "rst time from within an International that is in the innovation process and in this role I was Committee. able to ask questions like: what is a city museum?, what is its mission? and what do we talk about when Prior to my arrival, I enrolled in one of the "rst we talk about a museum as part of the city? among activities proposed by the organisers, on Saturday, others. August 31st, at the DRMC Committee Workshop on Introduction to disaster risk management for museum !e organising committee of CAMOC KYOTO professionals. !ere, I was able to work in a team, meet worked hard to create a great meeting with the other professionals and also visit the Kyoto National City. !e designed agenda was very strategic and of Museum. great quality. !e Kyoto City Museum and the post- I am very thrilled and grateful for these achievements. conference tour, the locations chosen to meet and share activities allowed us to get to know interesting Shared experiences, networking, passion and ideas and rich projects at a deeper level, including the in motion Machiya Houses, Ueno Park Passport, Edo Tokyo Museum, Tokyo Metropolitan Art Museum and Within the framework of the conference, the annual Kyoto City Museum from within, they have le% open CAMOC meeting had a great impact on my work, doors, to pursue further research, learn from them, given that I was able to recount my experience at the and to undertake possible future collaborative work.

21 RETHINKING MUSEUMS A Personal Refecton from the Symposium A Museum for the People TENG CHAMCHUMRUS*

the prescient and pressing questions that were raised in 1969 that remain ever more relevant in 2019.”

The ACM/APAC symposium, mirroring its 1969 precursor, brought together approximately two hundred museum professionals and representatives from community-based organizations this time in Washington, DC, instead of Brooklyn. The symposium had four sessions: • A Museum for the People?: Refectons on Where We’ve Been and Where We’re Going • New Programming for the Community Museum • Keynote Conversaton: Rethinking Museums from A moment from the symposium. © Teng Chamchumrus Outside the Field • The Public Arts On December 6th, 2019, the Smithsonian’s Anacostia We heard from those who were at the gathering Community Museum (ACM) and the Smithsonian in 1969, from old friends and new colleagues in Asian Pacific American Center (APAC) cohosted the community-based museums and partner organizations symposium A Museum for the People: Museums and with various expertise, and from audience members Their Communities, 50 Years Later. This symposium who care deeply about their communities. The marked the anniversary of a key moment in the history symposium served as a convening space for of American museums: in 1969, approximately two us to exchange wisdom, insights, inspirations, hundred people, representing museum directors and disappointments, lessons learned, ideas, and questions. staff as well as representatives from local arts councils, As Lisa Sasaki, Director of APAC, asked the audience, social agencies, foundations, school boards, and “What lessons can we impart to our colleagues who community centers from around the United States, are undertaking community work?...What lessons do gathered in Brooklyn, New York, to discuss their role we still need to learn? Are we sustainable?...What within the communities they sought to serve, to challenges will we be tackling in the next 50 years?”2 understand the need in those communities, and to develop the best strategies for operating and engaging My personal takeaways audiences. The gathering resulted in a seminal publication, A Museum for the People.1 Each of us probably took away something different from the symposium. For me, after twenty years in Many questions and insights from A Museum for nonprofit management—more than half of which were the People remain relevant and at the forefront of outside of museums—serving communities is a given. discussions and challenges in museum work today, I am interested in the big-picture question of how to not only among community museums but also in the deliver service to communities in an effective, efficient, broader museum sector. For instance, at the 25th ICOM and sustainable way. Underneath that question, I tend General Conference in Kyoto, Japan, in September to ask other questions, like: Who does my organization 2019, delegates could not reach agreement on what serve? What are their needs and challenges? What can would seem to be an easy topic: the basic definition of my organization uniquely contribute to help address a museum. As Melanie Adams, the Director at ACM, these needs and challenges, given our strengths and put it, “As the museum world grapples anew with its limitations? How do we get invited into communities? role in addressing issues that face communities around Who else do we need to work with to deliver the the world—from immigration to climate change to service? How do we coordinate and organize that gentrification—we gather again to revisit and reflect on

2 * Teng Chamchumrus, The Smithsonian Insttuton For the full program of the symposium: htps://www.eventbrite. com/e/a-museum-for-the-people-museums-and-their-communites-50- 1 Harvey & Friedberg, 1969 years-later-tckets-80526056603#

22 network? All these questions lead to the end goal of consistency over a long, complex, multigenerational helping communities thrive in the changing world today process is difficult. It requires mindful attention to and in years to come. Through that lens, here are my know when to pause and celebrate milestones while takeaways: recognizing the work ahead and staying energized to do it. We all need self-care, individually and collectively. 1. A Museum for the People is a change management As with any effective process, qualities such as active process. listening, reflection, and willingness to learn, evolve, and grow are essential. I saw the abundance of those The president of a 200 million dollar nonprofit qualities in the room at the ACM/APAC symposium, and organization once coached me, “Change I feel energized to be part of this movement. management is about being a broken record. When you lead people through change, you 2. A Museum for the People is a community of keep repeating and repeating the message practice. over and over again.” That saying kept coming back to me at this symposium. In the Keynote The exchange under #Museum4thePeople on Twitter Conversation, “Rethinking Museums from was as active and lively as the in-person discussion. The outside the Field,” the panelists asked, “What tweet that has received the most likes came from Sarah are museums? What do museums do, for Jencks, director of education at Ford’s Theatre, the whom, and to what end?,” which sounded historic site where US President Abraham Lincoln was like what our colleagues asked fifty years ago: assassinated (@sarahjencks): “Whys and wherefores of a neighborhood Stacey Dohn: We have an epidemic of museum: the problems of...museums relating loneliness in this country. Some go to the to the various communities which they serve, museums and performance to be with others. new audiences and their needs.”3 Why are we How could museums actually connect people still asking the same questions fifty years later? to one another in some formal way as part of their visit? #Museum4thePeople After hearing insights and lessons learned from generations of those who have been doing this work, For me, the tweet captures one of the magical moments the path became clear to me. A Museum for the People at the symposium, where conversations led to a great is about using museums to create systemic change idea and the room jumped into a productive discussion within communities. Consequently, it is a change and was ready to act. Stacey Dohn is a behavioral management process, not only for the museum but health therapist at Whitman-Walker Health, a DC- also for all stakeholders involved. Change management based community health service. Health services and requires setting a shared goal—in this case, meeting museums do not seem to have much in common on the community needs—and repeatedly helping those surface, and Stacey was skeptical when she was asked involved change their ways of working to achieve that to join the keynote panel at this museum symposium. shared goal. It is a complex process. The members For those of us working in museums, topics such as of a community come and go, and who they are and loneliness—and museums as part of the solution— what they need changes continuously with the context probably never crossed our minds, either. However, around them, whether the context is human, physical, when the symposium brought a diversity of expertise political, economic, environmental, social, cultural or to the table, new connections formed and new ideas all of the above. The stakeholders that could affect sprang forward. We realized museums might now have or influence communities also change. Therefore we have to manage and evaluate A Museum for the People as a long, complex, multigenerational process and not as an item to check off the list. Being a broken record is a critical part of the work, and repeating the same questions over and over is actually a good thing because it gives us the opportunity to pause to reconfirm our goals, evaluate lessons learned, and reset our course of actions. An effective process has consistency.

It is also helpful to recognize that maintaining

3 Harvey & Friedberg, 1969 At the symposium. © Teng Chamchumrus

23 RETHINKING MUSEUMS a role in addressing public health crises, and health services should be able to count museums as allies.

When we truly put everyday people and their context in the center of what we do, we realize that major challenges in communities are bigger than the boundaries of the museum sector and that it takes a network of organizations collaborating to address those challenges. What role a museum can play in its community will depend on its strengths, expertise and resources, and the network of organizations serving that community. The symposium gave us a glimpse into the potential of this type of collective power when we include the expertise and experience from A moment at the symposium. © Teng Chamchumrus partners beyond the museum field. Imagine what more we could do if we ask: Do we have all the necessary are? Or maybe we let our commitment, words, and expertise, skills, experience and resources within the actions demonstrate what museums can do for the network to strategize and implement what we need people. to do for communities? Who else needs to be at the table? After considering my three takeaways from the symposium, I would challenge us to ask these final 3. A Museum for the People is about commitment, questions: What can our museums uniquely contribute words, and actions, and not about definition. to help address needs and challenges of our respective communities? How might we coordinate and Do we need a formal definition to define what we collaborate to address community needs? Let us take do? Whether we work for museums, public libraries, action now, and not wait another 50 years to check in historical societies, soup kitchens, health centers, or on this change management process. more, we all are taking actions to help people that we care about—our communities. We take these actions Bibliography as best as our vision and mission, our capacity and Harvey, E. D., & Friedberg, B. (1969). Seminar Schedule. expertise, and our resources allow. We partner and In E. D. Harvey, & B. Friedberg (Ed.), A Museum continue to expand partnership. We evaluate and strive for the People: A Report of Proceedings at the to do better. We pause to check in as we did at this Seminar on Neighborhood Museums (p. xiii). symposium. So, do we have to define what museums Brooklyn, NY: Arno Press.

CALL FOR CONTRIBUTIONS Send us news about your museums, new exhibitons and projects! CAMOC Museums of Cites Review looks forward to receiving news about your city museums, new exhibitons, projects and initatves! Selected texts will be published and also shared on our website, thus reaching the entre internatonal network of city museums, our individual members and friends around the world. CAMOC Museums of Cites Review has four issues per year, and proposals for the following ones can be submited by: • May 15th, 2020 • August 15th, 2020 • November 30th, 2020 • February 28th, 2021 The texts should be concise (up to 1000 words), having not only informatve but also an analytcal component, and be accompanied with complementng images or other visual materials of your choice. For technical reasons, horizontal layout is preferred for images. For text proposals and submission, for questons or clarifcatons you might need, please write to the editor, Jelena Savić at: [email protected] or [email protected]

24 MUSEUMS AND MIGRATION Migratng Memories – Dialogues on the Relatonship Between Memory, Heritage and Migraton The 29th Associaton of European Migraton Insttutons (AEMI) Meetng Red Star Line Museum, Antwerp, Belgium 2-5 October 2019

ANDRÉA DELAPLACE*

The museum building. © Red Star Line Museum

As its title, Migrating Memories – Dialogues on the how museums can integrate personal memories and relationship between memory, heritage and migration, objects into permanent and temporary exhibitions shows, the focus of this three-day conference was on on migration.1 With presentations by international researchers and museums professionals working in the A moment from the AEMI meetng. migration field, the AEMI meeting fostered a dialogue © Andréa Delaplace

1 The focus of the conference was on exchanging informaton and creatng a dialogue between the diferent disciplines and insttutons that look at the migraton thematc: “Amongst heritage professionals and policymakers there is a growing awareness that culture and cultural heritage can be employed to meet the challenges of integratng migrants and refugees into society by means of partcipaton. Through partcipatve initatves and encouraging actve involvement from all social groups, integraton can be understood as a process of mutual understanding of each other’s past and present, culture and environment. More and more research and heritage insttutons take up a role in safeguarding ‘migratng’ memories and cultural heritage. The conference is designed to encourage provocatve dialogue across the fullest range of disciplines and insttutons. During the conference there will be a mix of presentatons: papers, poster presentatons, discussions * Andréa Delaplace, CAMOC member and PhD candidate at Université and workshops.” For more informaton check their website: htps://aemi. Paris 1 Panthéon Sorbonne eu/29th-aemi-conferenc-2019-antwerp/

25 MUSEUMS AND MIGRATION on how museums can improve migrant representation How to create collaborative exhibitions? and incorporate individual memories into their exhibitions.2 The keynote speech by Karen Moeskops, director of the Red Star Line Museum Antwerp, provided This article focuses on the highlights of the conference insights on how to safeguard migrant memories in a and discussions that could be of special interest for our genuinely participatory way, as an inclusive museum. CAMOC colleagues. She presented the different projects that her museum has developed over the years together with the local Special visit to the museum and its permanent and migrant communities. She presented the Red Star Line temporary exhibitions as a lieu de mémoire and explained how collectors and city museums started to show interest in the memories The opening reception was at the Red Star Line and histories of migration. Museum, where we had a special visit and an opportunity to meet community representatives who How to create an exhibition starting from an individual donated objects reflecting their personal stories and point of view and place it in a broader context in experience as migrants to the museum.3 The tour relation to the migration phenomenon? That was one included a visit to the permanent exhibition of the of the main questions that the different presentations Red Star Line Museum and its temporary exhibition of museums professionals were trying to answer. How Rootseekers.4 The participants of the AEMI meeting can individual stories (micro-history) be integrated in were invited to discuss and share their own experiences a broader narrative on migration (macro-narrative)? working in migration museums and with migrant communities. In other words, it was particularly Is creating participatory mechanisms to enhance interesting because, during the tour, participants were multivocality in exhibitions feasible? How can these engaged by sharing their own experience, which made processes be incorporated into exhibitions? Or, could the visit open and interactive, instead of the usual way we find another medium, better than an exhibition? of museum representatives speaking and participants In 2013, as a collective effort, the museum started listening. inviting visitors to share their own family migration stories and memories of the Red Star Line as a historical place in Antwerp, thus transforming it into a lieu de Creating a network for migration museums and mémoire of the city of Antwerp. researchers The project Me, Myself and Belgium (2017) focused On the following day, the opening presentation about on creating a network of communities keen to work the Tenement Museum’s5 network, called Safeguarding memories of migrants – the network of migration with the museum by sharing their memories and family 7 museums and researchers, showed the importance stories. For this to happen, the museum had to build of building a platform to share experiences and a safe environment where migrants could share their knowledge on migration exhibitions and research. The stories and talk about their challenges and hopes in main objective behind the creation of this network settling in a new country. The museum as a safe space is to stimulate dialogue and thus enrich the practices or safe harbor was the main concept used to create this of its members. Kevin Jennings, the president of the participatory project. Museum, emphasized that working with different researchers and specialists increased the scope of The exhibition was just a short temporary exhibition, the different tours and exhibitions at the Tenement but the project of connecting with the community is Museum, making the immigrant and migrant still going on through the “museum café”, a monthly experience unique.6 event which brings people together to share languages and stories. These connections were documented and a book was published as a final outcome of the 2 For more informaton check their website: htps://aemi.eu/29th-aemi- project. This participatory process was of importance conferenc-2019-antwerp/ 3 The main idea of this museum is related to migraton, and especially for creation of new exhibitions, publications and emigraton, as the museum’s website explains: “Two million passengers subsequent projects in the Red Star Line Museum. travelled from Antwerp, the Red Star Line’s main European port, to North America on board Red Star Line ships. The museum focuses on their stories, that of the Red Star Line that transported them and that of Antwerp, the city and port from which they embarked on their journeys.” Other examples of the participatory process in creating 4 For more informaton check their website: exhibitions are the temporary exhibition Rootseekers, htps://www.redstarline.be/fr which invites visitors to reflect on their own migration 5 htps://www.tenement.org/ 6 For more informaton check their website: htps://yourstory.tenement.org/ and htps://www.tenement.org/about-us/ 7 htps://www.redstarline.be/nl/pagina/me-myself-and-belgium

26 symbol of the exhibition in the museum. It reminds us of the definition of objet phare, where special status as a symbol is attributed to an everyday object. 10 - Testimonial objects: those created with the objective of transmitting memory (e.g. family photo album). - Legacy objects: they exist in order to retain the cultural identity of a migrant group (e.g. Palestinian flag).

There is a need to balance personal memories and other ‘sources’ for the museum to create a more in- One of the most interestng exhibits from the Museum’s depth analysis of the migratory phenomenon. For collecton. © Andréa Delaplace both permanent or temporary exhibitions, the balance between the individual narrative and the different sorts histories and share their stories through workshops8 of data (archives, maps, statistics on migration, etc.) is and the project called Field Workers (started in 2017), essential to present to the visitor a more complex look focusing on co-producing artistic event based on on the subject. “shared histories”.9 If, on the one hand, the use of testimonial objects As a conclusion to her speech, Karen Moeskops and personal memories contribute enormously to highlighted the points that appear as essential the enrichment of the discourses on the different in creating a participatory project with migrant motivations that led to immigration, these displays communities: can, on the other hand, lead to a very subjective - Sincere acknowledgement and genuine discourse on migration that doesn’t allow a more global involvement analysis of the phenomenon. So, the use of individual - Long-term, sustainable benefit memories and discourses can only lead to an exhibition - Clear expectations: how the collected stories that works as a patchwork of personal memories and and memories will be preserved can make it difficult to talk about the real problems - Multiple perspectives-based scientific that migrants face when confronted with a new social methodology and research are essential reality in their new country. In fact, there is a tendency - Time to build up trust to present individual experience as something positive - Flexibility and emotional, which can lead to a very positive way - Being an inclusive museum – creating dialogue of seeing things. As time goes by, people tend to look between the different communities and the back at their own life experiences with a more positive Museum. attitude, so if exhibitions are limited to the use of oral history only, such an approach may prevent a more The workshop: contemporary collecting in museums critical analysis of the reality that migrants actually faced in the past, and that they have been experiencing One of the most interesting activities during this in the present time as well. On the other hand, without conference was the workshop organized by Randi the personal stories and objects migration museums Lorenz Marselis and Freja Gry Børstig of the Danish would have difficulties to create a bond with their Immigration Museum and the Roskilde University. visitors, as personal testimonies help to connect to the It focused on memories and personal stories attached challenges and realities of migrants. to objects. The aim of the workshop was to discuss how collecting objects and personal memories and To summarize: stories with different migrant communities can lead to a typology. The range of emotions and feelings that The most interesting point of this conference was to arouses when donors are confronted with these objects see how (migration) museums deal with oral memories is very wide, so different categories of objects are and objects as their testimonies, and how, through recognized: displaying these individual stories, a discourse on - Emotive objects: when moved from a migration - the relation between micro-history and private sphere to a public sphere (museum/ macro-history – can be built. exhibition), an emotive object becomes a

8 This temporary exhibiton focuses on personal memories and stories of migrants. For more informaton, please check the Museum website: 10 Yves Bergeron, Marie-Ève Goulet, et al. (2016). “A la recherche des « htps://www.redstarline.be/nl/content/rootszoekers-1 objets phares » dans les musées“. Conserveries mémorielles #19 | 2016, 9 Fourteen interviews will be integrated into the Museum’s permanent [online], Retrieved from: exhibiton and collecton by 2021. http://journals.openedition.org/cm/2316 (September 2019)

27 ACTIVITIES & EVENTS

The museum inside me

We love museums because we like to explore the world around us and discover stories about life through their collectons. Staying indoors, we are deprived of a new museum experience that will inspire and entertain us. Therefore, we challenge you all to co-create The Museum Inside Me, composed of two photo collectons on Facebook and Instagram! Using #themuseuminsideme we declare that museums remain open in us, to our experiences and imaginaton, our emotons and needs. On Facebook: As we stay these days at home, which things around us make us feel joy, hope, relief and serenity? We create our own online museum of positve thoughts through photographs of everyday objects. 1. Pick a thing from your home that is special for you and take a photo. 2. Upload the photo at The Museum Inside Me page. 3. In the photo capton, tell us, in a few words, how it helps you think and feel positve, using the #themuseuminsideme. It will be one of the “exhibits” of our co-created special museum! @museuminsideme On Instagram: Do you remember yourself in a museum? How did you feel, what memories do you have? Let’s create a collecton of personal photos to keep them alive along with our desire for our next visit… Follow themuseuminside me ! 1. Upload a photo of yourself inside a museum and tag @themuseuminsideme 2. Don’t hesitate to tag your friends to upload a photo of them in a museum as well!

28 Exhibiton Alert

City museum strategies Casa das Histórias Paula Rego. © Luís Ferreira Alves LFA / Casa da Arquitectura to cope with pandemics Our CAMOC Board member Jenny - Chunni Chiu has been EXHIBITION THEME gathering informaton on the steps and measures museums Souto de Moura – Memória, Projectos, of cites around the world have been undertaking to cope Obras with the situaton, now that their physical spaces have / Memory, Projects, Works been closed. The plan is to share examples of good practce Dates & Place and creatvity on our Facebook page, and also to send the 18 October 2019 - 6 September 2020 informaton specifc to museums of cites to the ICOM Casa da Arquitectura - Centro Secretariat. Português de Arquitectura, Matosinhos, Portugal If you wish to contribute, please prepare a short note about Informaton online at your insttuton’s strategies and send it to Jenny Chiu: htps://casadaarquitectura.pt/ at [email protected] exposicoes/ or CAMOC Facebook message Descripton htps://www.facebook.com/museumsofcites/ Curated by Francesco Dal Co and or CAMOC Instagram direct message Nuno Graça Moura, the exhibiton Souto de Moura ofers a unique and htps://www.instagram.com/insta_camoc/ rare monographic interpretaton of the work of one of the most prestgious Portuguese architects. The exhibiton is the frst reading EXHIBITION THEME extracted from the enormous legacy that the architect deposited at Special alert on the reopening of the Musée Carnavalet, Paris, France Casa da Arquitectura last May, which consists of 604 models, about Dates & Place In 2020 8500 drawings and full textual The Carnavalet Museum, Paris, France and photographic documentaton Informaton online at to complement the architectural http://www.carnavalet.paris.fr/en/ designs. Descripton With about 40 selected projects, After being closed for renovations for the last four years, the Musée Carnavalet in Paris is the exhibiton “invades” Casa going to reopen this spring, with a new permanent exhibition on the history of the city. Carried out under the supervision of the agencies François Châtillon (chief architect da Arquitectura, occupying the of Historic Monuments in France), Snøhetta and Nathalie Crinière, the restoration exhibiton nave of about 950 square concerned certain facades, entire collections but also the upgrading of buildings. Result? meters and also the space of the In spring, it will be possible to roam around a completely redesigned exhibition route of Gallery, of about 150 square meters. 3,900 square meters, and discover some 4,000 works out of the 615,000 in the Museum’s The materials, all originals and for collection. the most part never exhibited untl Its collections make it one of France’s most important museums. There are woodwork now, have been presented exactly and décor exhibits, paintings, drawings and engravings, posters, photographs, coins and medals, sculptures, furniture, objets d’art and historical artefacts – all presented in an as it exists in the archives of Casa da exceptional historic setting. Visitors travel through time, from prehistory to present-day Arquitectura, without anything being Paris! manipulated or omited. In the new permanent exhibition, works ranging from the Mesolithic (9600-6000 BC) This exhibiton and the catalogue to the immediate contemporary will be on display. There will be the new exhibition (edited by Casa da Arquitectura and arrangements to discover (especially for children), the gardens and the famous period Yale University Press) have, primarily, rooms, which consist of reconstructing a historic setting, like the bedroom of the great a documentary goal – to open these writer Marcel Proust. The Carnavalet - Histoire de Paris museum offers a cross-section of the capital: two archives to the public and enable its parallel exhibitions of photos by Eugène Atget and Henri Cartier-Bresson (to discover use for the most diverse analyses, from November 3, 2020 to February 28, 2021) mark the reopening of the museum. interpretatons or speculatons. This publicaton contains essays EXHIBITION THEME writen by: Álvaro Siza, Carlos Machado, Francesco Dal Co, Giovanni Future and the Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow Leoni, Jorge Figueira, Nuno Graça Dates & Place Moura and Rafael Moneo, among 19 November 2019 - 29 March 2020 others. Mori Art Museum, Tokyo, Japan

29 ACTIVITIES & EVENTS

Information online at https://www.mori.art.museum/en/exhibitions/future_art/index.html Descripton Advances in technology over the past few years are now starting to have a significant impact on various aspects of our lives. It is said that not too far in the future, human beings will be entrusting many of their decisions to AI (artificial intelligence) which will then supersede human intelligence; the advent of “singularity” will potentially usher in enormous changes to our society and lifestyles. Another development, that of blockchain technology, looks set to build new levels of trust and value into our social systems, while advances in biotechnology will have a major impact on food, medicine, and the environment. It is also possible that one day, we humans will be able to extend our physical functions, and enjoy longer life spans. The effect of such changes may not be necessarily and universally positive, yet surely we need to at least acquire a vision of what life may look like in the next 20-30 years, and ponder the possibilities of that new world. Doing so will also spark fundamental questions about the nature of affluence and of being human, and what constitutes life. Future and the Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow, consisted of five sections: i.e. “New Possibilities of Cities;” “Toward Neo-Metabolism Architecture;” “Lifestyle and Design Innovations;” “Human Augmentation and Its Ethical Issues;” and “Society and Humans in Transformation,” will showcase over 100 projects/works. The exhibition will aim to encourage us to contemplate cities, environmental issues, human lifestyles and the likely state of human beings as well as human society - all in the imminent future, via cutting-edge developments in science and technology including AI, biotechnology, robotics, and AR (augmented reality), plus art, design, and architecture influenced by all these.

EXHIBITION THEME

Housing Density: From Tenements to Towers

Dates & Place Until 15 March 2020 (reopening planned for June 3, 2020) The Skyscraper Museum, New York, USA Informaton online at https://www.skyscraper.org/ Descripton Located in New York City, the world’s first and foremost vertical metropolis, The Skyscraper Museum celebrates the City’s rich architectural heritage and examines the historical forces and individuals that have shaped its successive skylines. Through exhibitions, programs and publications, the Museum explores tall buildings as objects of design, products of technology, sites of construction, investments in real estate, and places of work and residence. The exhibition explores the following questions: What is density? Does the word describe a condition of people or place? Is it people crowded together? Buildings too tightly spaced, or too tall? Or is it a lack of open space on ground level? Built density, which measures the area covered by structures, and population density, which calculates the average number of people in a given area, describe two very different aspects of the urban experience. Arguments about density have shaped and reshaped New York. Critics of tenement life and housing reformers viewed open space and sunlight as the antidote for overcrowding and created a new vision of master-planned, high-rise, residential communities. The Depression brought government funding into the business of housing, and by the 1950s “towers in the park” became the standard approach to slum clearance and urban renewal. Yet this formula for working- and middle-class projects, which were designed at extremely low density, housed far fewer residents than the tenement blocks they replaced. By the 1960s, critics led by Jane Jacobs and others denounced the modernist solutions in favor of traditional neighborhoods. Density today remains a hyper-charged concept – a negative to many who equate it with crowding – or a positive for those who claim it creates more vibrant and affordable urban life. Whatever one believes about its relative merits, a better understanding of density is a first step to meaningful dialogue about the future of the city. HOUSING DENSITY illustrates and analyzes the two characters of New York’s housing stock – privately-developed or publicly- assisted – from the perspective of density and raises questions about how to house the city’s growing populations on its scarce land.

EXHIBITION THEME

Rua! (The Street!)

Dates & Place 18 January - April 2020 MAR – Museu de Arte do Rio, Rio de Janeiro, Brazil Information online at http://museudeartedorio.org.br/programacao/rua/ Description This collective exhibition comprises about 80 works, among them photographs, vídeos, graffiti and sculptures, by artists such as Carlos Vergara, Evandro Teixeira, Paula Trope, Guga Ferraz, Tiago Sant’Ana e Tia Lúcia, among others, whose works belong to the MAR Collection. Also, five graffiti artists Rua! © Museu de Arte do Rio were invited to create works especially for this exhibition, namely: Panmela Castro, Cruz, Rack, Ramo Negro and the collective I love MP. The exhibition is in line with MAR’s devotedness to illuminate and discuss urban social issues and to create dialogue between art and street culture. In the words of chief curator Marcelo Campos, “The street vibrates with the city beat, the pulse of the passers-by, who see it in diverse ways, through publicity, voices, transit and primarily, through invention of discourses. Based on these attitudes and gestures, the selection from the museum collections was made and divided into four themes: wandering, ruins, violence and manifestations”.

30 EXHIBITION THEME

Public Architecture: Future for Europe

Dates & Place 30 January - 10 May 2020 Schusev State Museum of Architecture Moscow, Russia Informaton online at http://muar.ru/en/item/1747-public-architecture Descripton The exhibiton “Public Architecture - Future for Europe” aims to present realized, not yet realized and even dream projects for the future of public architecture in Europe and shows ideas from architects who are sincerely concerned with urban development, city planning, innovatons and environmental questons; Architecture for the People. The exhibiton presents projects about social housing, green buildings, passive houses, mobility, educatonal and civic spaces, train statons, airports, all public buildings and spaces. An internatonal group of approximately 40 architects, frms, photographers, universites and architecture insttutons actve in Europe, shares their ideas on the development of alternatve approaches and new architecture along with the respect for cultural heritage in Europe, which will result in urban revitalizaton in general. The role of creatve and critcal thinking, fostered by arts, architecture and cultural actvites, plays a key role in building actve communites in diverse urban development contexts. The exhibiton aims to showcase a cross-secton of public architecture nowadays, which belongs to the generatons living Europe and shaping our own future, enriching the refecton and dialogue upon public architecture across the contnents and learning from the diversity of approaches. At the Schusev State Museum of Architecture the exhibiton projects are displayed in 9 rooms, a few rooms are dedicated to one single frm or project and in additon, several rooms are used to present a combinaton of projects, many of which were created on purpose for the exhibiton. Among the partcipants, architects and thinkers whose selected works are presented in the exhibiton are: Mies van Der Rohe Foundaton, Ural State University of Architecture and Art and the Museum of Architecture and Design Ekaterinburg, Laboratory for Visionary Architecture LAVA, 3RW arkitekter, Daniel Libeskind, Schulz und Schulz and Iwan Baan, Bjarke Ingels Group, Denise Scot Brown, Kengo Kuma, Peter Kulka Architects, Christoph Hesse Architects, UNStudio.

EXHIBITION THEME

Paul Fischer – Copenhagen in the Best Possible Light

Dates & Place 8 February – 31 July 2020 Museum of Copenhagen, Denmark Informaton online at https://cphmuseum.kk.dk/en/event/paul-fischer-copenhagen-best- possible-light Descripton After years of being closed, the Museum of Copenhagen has just reopened at a brand-new address. The first special exhibition at 18 Stormgade is an exhibition of works by the Copenhagen painter above them all, Paul Fischer. From around 1900 he was famous for his paintings of elegant women, proud fishwives, straight-backed guardsmen and everyone else populating the streets of the city. The Paul Fischer, View From a Balcony. © Museum of Copenhagen exhibition Paul Fischer – Copenhagen in the Best Possible Light presents rarely seen paintings, Fischer’s poster designs and postcard illustrations, as well as his own photographs of Copenhagen past. Paul Fischer (1860-1934) is most famous and loved for the paintings of Copenhagen he made around 1900. During his lifetime Copenhagen went from being enclosed and surrounded by ramparts to open up and become the city we know today. Fischer depicts the buildings and people of the city with a passion and intensity that makes it almost impossible not to share his love affair with Copenhagen. The exhibition shows Fischer’s Copenhagen come rain or shine, snow or sleet, and each and every work is imbued with his love of the city. Many know Paul Fischer as a painter, but throughout his long and productive life he was also a prolific illustrator and poster artist. Through his postcards, posters and pictures in magazines Fischer’s art reached the entire population of Denmark. Fischer was one of the first Danish artists to embrace photography and use it in his art. Even though the medium was frowned upon in art circles, it became integral to Paul Fischer’s work as an artist. Fischer used his camera as a sketchbook, and by the time he died in 1934 he had taken over 5,000 photographs, a wide selection of which are included in the exhibition. With his romantic depictions of city life, Paul Fischer’s really does show Copenhagen in the best possible light.

EXHIBITION THEME

Champs-Elysées History and Perspectves

Dates & Place 14 February - 10 May 2020 Pavillon de l’Arsenal, Paris, France Informaton online at htps://www.pavillon-arsenal.com/en/expositons/11463-champs-elysees.html

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Descripton On the Champs-Élysées, Paris fashioned itself according to a perspective of infinite progress. Three centuries after it was first built, cars, noise, pollution, tourism, a globalized commercial offering, and neglected gardens have warped the usage of this avenue and diminished its appropriation by Parisians. The exhibition “Champs-Elysées, History & Perspectives” presents the study conducted at the behest of the Comité Champs-Élysées by Philippe Chiambaretta in collaboration with some fifty researchers, historians, scientists, engineers, artists, and economic and cultural actors from France and abroad. It traces the development of “the most beautiful avenue in the world”, analyzes its current usages, and proposes a vision of its potential evolutions in response to the challenges this area of the city faces in the present day. It invites viewers to participate in the space’s metamorphosis.

EXHIBITION THEME

Taller Boricua: A Political Print Shop in New York

Dates & Place 25 March – 28 June 2020 El Museo del Barrio, New York, USA Informaton online at htps://www.elmuseo.org/taller-boricua/ Descripton In celebration of Taller Boricua’s 50th anniversary, El Museo del Barrio will present Taller Boricua: A Political Print Shop in New York, the first monograph exhibition in three decades about the East Harlem-based Nuyorican collective workshop and alternative space. Best known for its cultural and political engagement, the institution produced and circulated Taller Boricua- A Politcal Print Shop in New York. © El Museo hundreds of prints by artists, advocating for issues of Puerto Rican del Barrio independence, workers’ rights, and anti-imperialism both locally and in the Caribbean and Latin America. Curated by Rodrigo Moura, Chief Curator of El Museo del Barrio, the exhibition will be comprised of more than 100 works, including serigraphs, lithographs, linocuts, paintings, sculptures, and drawings by founding and early members, including Carlos Osorio (1927- 1984), Jorge Soto Sánchez (1947-1987), Marcos Dimas, Nitza Tufiño, and Rafael Tufiño (1922-2008), among others. Works in the show draws from El Museo’s and other institutional collections, as well as from the Taller’s extensive archives. A recognized space for political activism, Taller Boricua is one of several Puerto Rican organizations created in New York City around the same time, as the Young Lords and El Museo del Barrio, and has mentored several generations of artists, art historians, and curators. The space served as a focal point for the affirmation of identity as it relates to artistic production in the diaspora, as well as its connections with non-Western, African and Taíno sources. The exhibition will also examine the close relationship between Taller Boricua and El Museo del Barrio, both founded during the same period, examining the artists’ participation in the creation of a visual identity for the Museum’s early programs.

EXHIBITION THEME

Staged Nature

Dates & Place 1 April – 30 September 2020 Calouste Gulbenkian Foundation, Lisbon, Portugal Informaton online at htp://futurearchitectureplatorm.org/programme/97/staged-nature/ Descripton Raul Lino (1879-1974) was one of the most prominent Portuguese architects of the first half of the 20th century. His professional archive is now part of the Gulbenkian Art Library’s holdings. It comprises around 9.000 drawings and 220 photographs, as well as textual documentation related to 639 architectural projects designed between 1902 and 1974. One of these projects is the famous “The Lisbon Zoo” (1936-1972). Staged Nature is a virtual exhibition project that explores this specific and rather emblematic architectural project aiming at facilitating and promoting its interpretation and discussion in the broader context of the Portuguese and Western European architectural theory and practice of the mid-20th century. This project primarily envisages to create a modern display of a project of architecture prepared to be explored by and more comprehensible to students and to general public. Starting from the traditional media of the architectural design the intention is to create new ways by which innovative technology can enable and promote diverse visual experiences or disrupt -old traditions; The second dimension of Staged Nature builds on the fact that architecture engages with a culture’s deepest social values by expressing them in material and aesthetic forms. The main idea is to frame this project with the relevant questions of the 21st century about the display of wild animals and the questioning of the reasons why we still have zoos. To confront architecture’s complex relationship to its social and historical contexts and its audiences, achievements, and aspirations. To rethink about architecture’s power of use and representation of nature and how it can produce collective meaning and memory.

EXHIBITION THEME

Niki de Saint Phalle: Structures for Life

Dates & Place 5 April - 7 September 2020 MoMA, New York, USA

32 Informaton online at htps://www.moma.org/calendar/exhibitons/5111 Descripton Niki de Saint Phalle (American and French, 1930-2002) created exuberant works intended to transform environments, individuals, and society. The first New York museum exhibition of the work of this visionary feminist and activist artist will feature over 100 works that highlight Saint Phalle’s interdisciplinary approach and engagement with pressing social and political issues. Early in her career, Saint Phalle pushed against accepted artistic practices, creating work that used assemblage and performative modes of production. Beginning in the late 1960s, Saint Phalle starting making large-scale sculptures, which led to an expansion of her practice into architectural projects, sculpture gardens, books, prints, films, theater sets, clothing, jewelry, and, famously, her own perfume. From this period forward, Saint Phalle also created a series of innovative works that reflect an ethos of collaboration and engagement with the politics of social space. Addressing subjects that ranged from women’s rights to climate Niki de Saint Phalle. Tarot Garden. 1991. Lithograph, (60.3x80 change and HIV/AIDS awareness, Saint Phalle was often at the vanguard in cm). 2019 Niki Chartable Art Foundaton. Photo: Ed Kesseler © addressing the social and political issues of her time. MOMA Central to the exhibition is an examination of Saint Phalle’s large-scale outdoor sculptures and architectural structures, including her central life project Tarot Garden, a massive architectural park outside Rome, Italy, which she began constructing in the late 1970s and continued to develop alongside key collaborators until her death. Opened to the public in 1998, the garden and its structures, which are based on the Major Arcana of the tarot deck, allow for moments of interaction and reflection that underscore Saint Phalle’s use of art to alter perception. The exhibition will include photographs and drawings of Tarot Garden as well as models that Saint Phalle created for its various structures.

EXHIBITION THEME

Departures - 400 Years of Emigration from Britain

Dates & Place Opening soon Migration Museum, London, UK Informaton online at htps://www.migratonmuseum.org/exhibiton/departures/ Descripton To mark the 400th anniversary of the sailing of the Mayflower to North America, Departures is a major new exhibition exploring 400 years of emigration from Britain through personal narratives, contemporary art and a range of media. There has been immigration into Britain since its earliest days, but across the years the British have been an emigrant nation more than an immigrant one. Today, there are an estimated 75 million people across the world who self-identify as having British ancestry, compared with 66 million people living in the UK. Departures will place Britain’s emigration story at the forefront of national conversations around migration and identity, inviting us to reflect on the connections between the reasons and motivations behind people leaving Britain over the past 400 years and the reasons why people have – and continue to – arrive on these shores. The exhibition will be accompanied by a series of events and talks, which will take place both at the Migration Museum and at venues across the country.

EXHIBITION THEME

Chicago Gallery

Dates & Place ongoing Chicago Architecture Center, Chicago, USA Informaton online at htp://www.architecture.org/exhibits/exhibit/chicago-gallery/ Descripton The visitors of the Chicago Gallery will have an opportunity to learn how Chicago became the “city of architecture,” explore the stories of five evolving neighborhoods, see Chicago’s residential architecture, discover architects who shaped the city and view new up-and-coming projects in this unique gallery. From Louis Sullivan to Mies van der Rohe, Chicago has been home to many architects who have created groundbreaking new architectural styles and tested bold experiments in city design. This gallery explains their impact while also examining the far reach of architecture throughout the city. Visitors will get an introduction to common Chicago home styles and evolving neighborhoods. They will also have a chance to compare Chicago Gallery. © James Steinkamp / Chicago Architecture wards, community areas and the construction date of buildings across the Center city on a large map.

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EXHIBITION THEME

The Greatest Grid The Master Plan of Manhattan, 1811-2011

Dates & Place online Museum of City of New York, New York, USA Informaton online at htps://thegreatestgrid.mcny.org/ Descripton Map of Manhatan 1811. © Museum of the City of New York The street grid is a defining element of Manhattan. Established in 1811 to blanket the island when New York was a compact town at the southern tip, the grid was the city’s first great civic enterprise and a vision of brazen ambition. It is also a milestone in the history of city planning and sets a standard to think just as boldly about New York’s future. “The Grid defines a new balance between control and de-control in which the city can be at the same time ordered and fluid, a metropolis of rigid chaos.” Rem Koolhaas, 1978 Conference Alert

CONFERENCE THEME

All the Beautes of the Cites: Gentrifcaton in Post-Socialist Countries

Dates & Place 16 February - April 2020 VI PER Gallery, Prague, Czech Republic Informaton online at htp://futurearchitectureplatorm.org/programme/90/all-the-beautes-of-the-cites/ Descripton The conference enttled Gentrifcaton in Post-Socialist Countries will include contributons by four selected creatves with a follow- up discussion. The conference will be held within the program of the exhibiton Karlin ExChange, running from the end of February tll April 2020 in Prague. The exhibiton will compare the former industrial neighborhood of Prague before and afer the devastatng foods of 2002. It will highlight the rapid urbanizaton by the private sector of this area as well as its gentrifcaton. The one-day program will be split into two parts: The frst part will accept contributons focused on the topic of the post-1989 urban privatzaton and the asymmetry of power in post- socialist cites (preferably in the V4 countries). Those are defned by the essental role of the private sector in the making of the city as a result of the privatzaton and the weakness of the council in any negotaton with real-estate developers. The event will feature projects and papers which refect the impact of this phenomenon on the right to the city or which chose as a case study a post- industrial neighborhood where the phenomenon of the rent gap was present. The second part of the conference will be questoning housing strategies and policies in European cites (mainly in Germany, Austria, UK, France, etc). In the focus of atenton will be analyses or observatons from countries that have experience with private/public projects (percentage for social or accessible housing in real-estate developer projects) or where the city or the welfare state plays a major role in providing housing for a diverse range of its inhabitants. Organized by Karlin ExChange and the Future Architecture Platorm

CONFERENCE THEME

Emoton in the Museum

Dates & Place 13-14 March, 2020 University of York, UK Informaton online at htps://www.york.ac.uk/ipup/events/conferences/emoton-in-the-museum/ Descripton How do museums feel? Which of their histories are emotve, for whom, and why? What kinds of emotons could or should be represented -- and evoked -- by engaging with history? How should emotonal experiences be facilitated in museum and heritage spaces, and to what ends? Scholarship on the history of emotons has expanded rapidly since the turn of the twenty-frst century. Within the academic disciplines of heritage and museum studies,

34 a number of scholars have drawn atenton to the role that emoton plays in the museum visitor experience, whether in relaton to the curaton of identfcaton and belonging, empathy for others, or the mediaton of difcult histories. A more recent strand of work propelled by actvists within the museum sector also draws atenton to the wider structural conditons under which emoton may be forged and experienced in the museum, partcularly in relaton to race, class, gender and sexuality and (dis)ability. That emoton is central to the visitor experience has long been recognised by practtoners in the sector, who have ofen sought to engage with visitor emotons as part of the movement towards ‘new museology’ -- a shif which has also involved a new emphasis on diversity in content, engagement and audience development. With these developments in mind, Emoton in the Museum will explore the changing role of emoton in the experiences of museums and heritage, from the perspectves of both the visitor and the practtoner. The two-day event aims is to facilitate cross-sector conversatons among academic researchers and museum professionals about the role that emotons across the spectrum might play in unlocking renewed understanding of personal and collectve pasts, presents and futures. Contributons are invited from museum and heritage professionals in any area, from researchers in disciplines across the arts, humanites and social sciences, and from special interest and community groups, including contributons which represent diferent natonal perspectves and case-studies. Organized by Insttute for the Public Understanding of the Past (IPUP) at the University of York and York Museums Trust

CONFERENCE THEME

Museums Facing Extncton (a series of events)

Dates & Place Upcoming event: 19 March 2020 Centre des Monuments Natonaux, Paris, France Informaton online at htp://www.wearemuseums.com/museumsforclimate/museums-facing- extncton/ Descripton In 2019, We Are Museums celebrated a seven-year-long journey going from a conference inspiring and gathering around 300 museum professionals worldwide to a movement of museums good for people and the planet fueled by social and technological innovatons. We Are Museums aims to align museums as places of inclusive growth and sustainable development, where the primary metrics are about social and environmental impact. It strives to be a forward-thinking platorm, reading the signs of the tmes and the shape of things to come. The We Are Museums’ mission: to turn museums and their local communites into climate leaders, and foster systemic changes towards a climate-resilient future. The project Museums Facing Extncton aims to produce a series of small-scale workshops happening across Europe, each tme bringing together 25 museum decision-makers, working together to create simple actons and take-outs, immediately implementable in any museum – small or large, and encouraging their communites to move towards a climate-friendly future. By combining the expertse of EIT Climate-KIC with the internatonal community of We Are Museums, the goal is to construct a blueprint for a beter future. Five levels of actons for museums to act for the planet:

• How to link arms and act as a powerful body of global infuence on a policy level • How to use our museums as a civic platorm for climate acton • How to be a neighbour and give rise to local micro-communites as climate champions • Turn your digital museum green • How to turn our museums into carbon free spaces Organized by EIT Climate-KIC and We Are Museums

CONFERENCE THEME

MuseumNext 2020: Transformaton

Dates & Place Postponed for 2021 Edinburgh, UK Informaton online at htps://www.museumnext.com/events/edinburgh/ Descripton MuseumNext returns to Edinburgh with a conference focused on making change happen. MuseumNext is a major internatonal conference on the future of museums. It has taken place annually in Europe since 2009 with an engaged, loyal and dynamic audience working at a senior management in museums, galleries and cultural venues across the globe. The meetng in Edinburgh will bring together museum professionals from around the globe for three excitng days of innovaton, inspiraton and conversaton. The conference will be based at the cites Festval Hub, a converted Victorian Church which stands

35 ACTIVITIES & EVENTS

at the entrance to Edinburgh Castle, and delegates will also have the chance to experience cultural actvites across the city. MuseumNext, which started in the UK more than a decade ago, has grown to take place in cultural capitals around the world. In 2019 the event has travelled to Los Angeles, Sydney, London, Amsterdam and New York. The Edinburgh conference will bring together delegates from more than 30 countries, allowing the partcipants to make connectons around the globe. Organized by MuseumNext

CONFERENCE THEME

The City and Complexity – Life, Design and Commerce in the Built Environment

Dates & Place Will unfold as a virtual event City, University of London, UK Informaton online at htps://architecturemps.com/london-2020/ Descripton 2020 marks the 50th anniversary of Jane Jacobs’ The Economy of Cites. It came a decade afer her seminal work, The Death and Life of Great American Cites, and heralded a new age in thinking about the city. The city would no longer be a queston of design and planning in isolaton. From the early 1970s onwards, it would be seen as a complex interdisciplinary phenomenon. The frst years of the 1970s saw the introducton of a whole series of notons that would mutually inform our reading of the metropolis: social justce and the city, sustainability, defensible space, and urban centres as sites of public health. It saw the emergence of concepts such as the global city, urban economics, the post-industrial society and the cultural city. From art, design and cultural perspectves, post-modernism would critque of the whole modernist project. Five decades afer complexity theory was frst applied to our reading of the city, this conference revisits its consequences. It reconsiders the city as an adaptve, self-organising and unpredictable system of interconnectng interventons, forces and perspectves. It asks how these competng and mutually reinforcing factors came into play and how they operate today. It questons how the city has been, and contnues to be, informed by the practces of multple disciplines. Seeing the urban phenomenon as not reducible to single issues, this conference asks the partcipants to bring their disciplinary expertse to a forum examining the city through the lens of complexity theory – as inevitably fragmented but simultaneously interconnected and changing. Organized by This internatonal event is organized by the City, University of London, the interdisciplinary research organizaton AMPS, its academic journal Architecture_MPS, together with the events and publicaton group PARADE.

CONFERENCE THEME

KISMIF 2020: “Keep It Simple, Make It Fast!”: DIY Cultures and Global Challenges

Dates & Place Postponed for July 2021 Porto, Portugal Informaton online at htps://www.kismifconference.com/ Descripton The ffh editon of the internatonal KISMIF 2020 (“Keep It Simple, Make It Fast!”) conference will focus on DIY Cultures and Global Challenges. The submission of abstracts for this conference is open to artsts, researchers and academics working in all areas of the sociology, anthropology, history, cultural economy, cultural studies, geography, philosophy, urban planning, media and related disciplines such as design, illustraton, popular music, dance, cinema and visual and performing arts in general. This initatve brings together an internatonal community of researchers and artsts with a focus on alternatve music scenes and do-it-yourself cultures. The KISMIF Conference ofers a unique forum in which partcipants can discuss and share informaton about alternatve cultures and DIY practces. The essence of KISMIF is cultural practces that are ofen contrary to more conventonal forms of producton and cultural mediaton, mass produced and commodifed. In line with this, there is an ant-hegemonic positoning around aesthetc policies and alternatve lifestyles. KISMIF is the frst, and to date, unique, conference in the world that investgates the theory and practce of DIY cultures as an increasingly signifcant form of alternatve cultural practce in the global context. The KISMIF Conference has a multdisciplinary / transdisciplinary approach, acceptng contributons from academics, artsts and actvists involved in all aspects of alternatve scenes and DIY cultures, and based on various methodologies— quanttatve, qualitatve and mult-methodological analyzes. The aim is to discuss various artstc felds such as music, cinema and video, graft and street arts, theater and performing arts, literature and poetry, radio, programming and editng, graphic design, illustraton, cartoon and comics. Our cites have currently been experiencing turbulent social change. Alongside issues of migraton, populism and a resurgence of natonalism, we are faced with growing antagonisms facilitated by austerity, displacement, racism, class tensions, economic crises and climate change. In this context, DIY cultures — and the various processes through which they work — deserve an insight and may ofer new resources for hope and change. Organized by FLUP – Faculdade de Letras de Universidade do Porto

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EAUH 2020: Cites in Moton

Dates & Place 2-5 September 2020 University of Antwerp, Belgium

Informaton online at htps://www.uantwerpen.be/en/conferences/eauh2020/ Descripton The 15th Internatonal Conference on Urban History will take place in Antwerp from “Cites in Moton. © City Archives Antwerp 2 to 5 September 2020. The Conference will be organized around the general theme of “Cites in Moton”, targetng movements of all kinds, mobility and migraton as consttutng elements of urban society. But the conference also welcomes lectures and sessions about other themes of urban history and urban studies. The event will feature dozens of sessions of diferent types: main sessions, specialist sessions and round tables. The sessions and round tables are organized around the following sub-themes: • Culture • Economy • Heritage • (Urban) Landscape • Migraton • Movement • Politcs • Ports • Social • Transport • Urbanizaton Organized by EAUH and University of Antwerp

CONFERENCE THEME

13th Internatonal Conference on Inclusive Museum

Dates & Place 23 – 25 September, 2020 Lisbon, Portugal Informaton online at htps://onmuseums.com/2020-conference Descripton The special focus of the 13th Internatonal Conference on Inclusive Museum will be on Museums & Historical Urban Landscapes. Proposals may be submited for paper presentatons, workshops/interactve sessions, posters/exhibits, virtual lightening talks, virtual posters, or colloquia, addressing one of the following themes: • Theme 1: Visitors • Theme 2: Collectons • Theme 3: Representatons Renowned experts museum and heritage experts Mário Moutnho and Ana Pereira Roders are confrmed as plenary speakers. The conference program groups together presentatons along similar themes to facilitate knowledge sharing and community building, and a complete picture of the conference will be available soon. The list of accepted proposals is regularly updated, and untl now comprises over 115 papers and other types of contributons: htps://cgscholar.com/cg_event/events/Z20/accepted_proposals Organized by Internatonal Insttute for Inclusive Museum (IIIM) and the Museum of Lisbon

CONFERENCE THEME

ICMAH Annual Conference 2020: Difcult Pasts, Complicated Presents, and Ambiguous Futures: Contested Histories in Archaeological and Historical Museums

Dates & Place 21 – 23 October, 2020 Bogota, Colombia Informaton online at htp://icmah.mini.icom.museum/ Descripton We are living in a tme of change when past certaintes are being challenged and aspects of the status quo are being exposed and denounced because they enhance politcal, social and economic exclusion. Also, the environmental crisis has promoted the questoning of thealready weakened narratves of progress. Formerly silenced or marginalized groups such as the economically disenfranchised, workers’ rights campaigners, climate actvists, women, and LGBTQ equality supporters, for just naming some

37 ACTIVITIES & EVENTS of the politcally actve actors emanatng from the civil society, are now making their voices heard. The general discontent with the current politcal and economic system has also led to the emergence of natonalistc rhetoric, which in turn has amounted to the establishment of far-right populist regimes. These are difcult tmes, but also quite challenging. Museums, as insttutonal actors imbedded in their specifc social contexts, can’t evade the conficts that surround them. Archaeological and historical museums respond as much as any other type of museums, if not more so, to their societal environment. Also, these museums have the specifcity of an avowedly diachronic perspectve: current issues acquire deeper meanings when linked with the historical processes. In the last few years, ICOM and its members have refected upon these difcult issues. In 2017 the subject for the internatonal museum day was Contested histories: Saying the unspeakable in museums, and this year it is going to be Museums for equality: Diversity and Inclusion. This year’s ICMAH’s annual conference intends to contribute with that broad examinaton of our insttutonal and professional practces. In Bogotá, we intend to examine some of the “difcult issues” that afect how societes and their histories are represented in museums, and how museums interact with their surroundings. Difcult Pasts, Complicated Presents, and Ambiguous Futures and their interpretaton and display in museums is certainly a broad subject, that’s why we intend to proceed by proposing the following questons: How could museums succeed in decolonizing themselves and their collectons? How can societes’ marginalized groups be given a voice in museums, in a way that benefts them? How and why do museums represent violence and trauma in their displays? And, fnally, how can museums be actve agents in their societes? Organized by ICMAH and ICOM Colombia

CONFERENCE THEME

MUŻE.X - SHAPING MUSEUM FUTURES The biennial conference debatng museum futures

Dates & Place 4 - 6 November, 2020 University of Valeta, Malta Informaton online at htps://www.museumfutures.net Descripton Predictng museum futures is no mean feat. Being unreasonably bold would be faced with the challenges of the now that would acknowledge much more what comes across as reasonable. It might be absolutely unreasonable that we re-invent the museum insttuton to address climate emergencies. Transforming the museum into a public space with a partcipatory management model is an ambiton yet to be achieved. We might ask whether Museums can morph into genuinely democratc, inclusive and polyphonic spaces for critcal conversatons about pasts and futures. We could also queston whether museums can ever be fully integrated within communites, actng as co-catalysts for radical changes in ways of seeing and living. Indeed, will a human-central museum, at peace with the natural environment, ever see the light of day? This conference seeks to present the latest thinking, actons and initatves that modestly or radically depart from the traditonal mold of curator/object-central spaces. The organizers are keen on showcasing the latest developments in the museum landscape, be they conceptual initatves or projects that are happening and evolving in the now, and which may well inform, infuence and defne the museum, partcularly with regards to climate change, artfcial intelligence and future technologies, but not just. The keynote speakers: Jete Sandahl, Mike Murawski and Diane Drubay. Contributons are welcome from scholars, museum curators and directors, think-tanks, insttutons and others working in the museum sector who act as or support game-changers in the sector. Organized by University of Malta and partners